#140

Cover Story:
Islamic Arts Biennale, Saudi Arabia
Museum & Cultural Lighting
Dorothy Di Stefano
Milan Design Week Review
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Welcome
I was talking to one of my lighting friends on
the phone the other week (Hi Jess! Hope you’re
good!), and when she asked me how things were,
my response was “oh you know, full on - but
that’s just how my life will be from now on.” This
was mainly eluding to the impending arrival of
my second child this September, but the same
could also be said of my working life here at arc
HQ. Even as we approach the relative calm of the
summer months, the last few months have been a
whirlwind of activity, bouncing from [d]arc sessions,
to Clerkenwell Design Week, to a print deadline,
with barely a gap in between to take a breath. At
the time of writing, we’re about to head to London
for IALD Enlighten Europe too - our last big event
before, hopefully, a restful summer.
Not that we should be complaining about a busy
schedule, as it really is a pleasure and a privilege
to be able to travel around and meet with so many
wonderful people, all in the name of work. Huge
thanks to everyone who came to check out our
[d]arc thoughts talks programme at Clerkenwell
Front cover: Islamic Arts Biennale, Saudi Arabia
(Image: Marilyn Clark)
#140
(if you missed them, all talks were recorded and
are now live on the [d]arc media Vimeo page). A
big thank you must also go to everyone that came
out to the latest [d]arc sessions in Portugal this
May too. I love doing these events - it always gives
me a warm, fuzzy feeling to see the way that this
amazing community of ours comes together for
three days of meetings, networking, and a bit of
fun (shout out also to the [d]arc sessions Swim
Club! Official badges are on the way!). I will be on
Paternity Leave during our Asia edition in Phuket
this September, but I’m sure this one will be no
different. I’ll be leaving it up to the wonderful Sarah
Cullen to keep Swim Club going!
Onto this issue then, and this time out I was thrilled
to be able to sit down with the legendary Dorothy
Di Stefano. If you’ve ever been on LinkedIn, you’ll
know Dorothy - she has her finger firmly on the
pulse when it comes to mind-blowing, immersive
works of art, so it was enthralling to speak to
her about the power of light, and the future of
immersive art.
Elsewhere, we’ve once again stacked this issue with
beautiful lighting design projects, this time looking
at some stunning museums and cultural centres.
Enjoy the issue!
Matt Waring
Editor
 #140

Inside this issue

Regulars Features 040

018 Event Diary 030 Milan Design Week

Katia Kolovea shares some of her
022 Drawing Board favourite finds from this year’s Milan
Design Week.
026 In Conversation
Prof. Michael F. Rohde talks about his 040 Dorothy Di Stefano
time at Hochschule Wismar. The “LinkedIn Celebrity” talks about
curating light festivals, immersive art,
028 Snapshot and the future of the medium.
Light&Studio
092 REBIRTH
038 Marcus Steffen Martina Frattura tells arc about a
The importance of getting the right recent collaboration on a one-day 052
clients, and how to find them. fashion exhibition for brand Khris K.

094 Manufacturer Case Studies 108 [d]arc sessions

A selection of Museum & Cultural A look back at the highlights from
Lighting case studies. [d]arc sessions Europe, held in Tróia,
Portugal, this May.
114 Silhouette Awards
Past participants share their thoughts 112 Timeless Lighting
on the importance of mentorship. Afonso Almeida offers a poetic take
on the importance of luminaire
118 GreenLight Alliance placement.
Harmonising the way to Lighting EPDs,
in collaboration with LightingEurope.
Projects 076
124 Product Launches
054 Islamic Arts Biennale
130 Bucket List GLARE tell us about the harmony
Christine Sicangco & Jovi Gonzaga of old and new in this [d]arc award-
winning project.

Eye Openers 062 Leighton House

BDP led the lighting design in this
020 Dan Flavin. Dedications in Lights conversion of a traditional 1800s
Dan Flavin home to a modern museum.

036 Printworks 070 Argo Contemporary Art Museum

Cundall After standing abandoned for 40
years, Tehran’s Argo Brewery has been 108
052 Kalix Bridge transformed into a contemporary art
Sweco gallery, lit by The Seed.

090 Terminal for Tirana 076 Gabrielle Chanel. Fashion Manifesto

Karolina Halatek The touring exhibition landed at
London’s V&A last year. StudioZNA led
106 Through the Looking Prism the lighting design for the show.
Ambiguous
084 The Eames Archives
116 Coqodaq Grace Mennel tells us how she
Rockwell Group illuminated this showcase of the iconic
duo’s collection of work.

Proudly Supporting
 CORSO MONFORTE 7, MILANO / PLATEK.EU
RIPPLING by JAN VAN LIERDE
OUTDOOR LIGHTING
v
 EDITORIAL

Managing Editor
Helen Ankers
h.ankers@mondiale.co.uk

Editor
Matt Waring
Events Diary m.waring@mondiale.co.uk

Contributing Editor
Sarah Cullen
s.cullen@mondiale.co.uk
JUNE OCTOBER
Online Content Creator
Ellie Walton
IALD Enlighten Europe Circular Lighting Live e.walton@mondiale.co.uk
21-22 June 9 October
London, UK London, UK COMMERCIAL
www.iald.org www.circularlighting.live
Managing Director
Paul James
p.james@mondiale.co.uk
IALD Enlighten Americas
AUGUST 17-19 October Head of Business Development
Jason Pennington
San Diego, USA
j.pennington@mondiale.co.uk
LEDforum.24 www.iald.org
14-16 August Media Sales Manager
São Paolo, Brazil Andrew Bousfield
a.bousfield@mondiale.co.uk
www.ledforum.com.br Light Symposium
20-23 October International Account Manager
Kongsberg, Norway Ethan Holt
www.lightsymposium.org e.holt@mondiale.co.uk

SEPTEMBER Events & Marketing Manager

Moses Naeem
Plasa Hong Kong International Lighting Fair m.naeem@mondiale.co.uk
1-3 September 27-30 October
London, UK Hong Kong, China DESIGN
www.plasashow.com www.hktdc.com
Design Manager
David Bell
d.bell@mondiale.co.uk
ArchLIGHT Summit
Design
17-18 September NOVEMBER
Jez Reid
Dallas, USA j.reid@mondiale.co.uk
www.archlightsummit.com LiGHT 24
20-21 November Production
Mel Capper
London, UK
m.capper@mondiale.co.uk
[d]arc sessions Asia www.lightexpo.london
24-26 September
CORPORATE
Phuket, Thailand
www.darcsessions.com Festival of Architecture & Interior Designing Chairman
22-23 November Damian Walsh
d.walsh@mondiale.co.uk
New Delhi, India
Smart Buildings & Sustainability Leaders www.foaidindia.in Finance Director
26 September Amanda Giles
Birmingham, UK a.giles@mondiale.co.uk

www.sbsleadersforum.com HIX Credit Control

27-28 November Lynette Levi
London, UK l.levi@mondiale.co.uk
www.hixevent.com
[d]arc media ltd
Strawberry Studios,
Watson Square, Stockport
Light + Intelligent Building Istanbul
SK1 3AZ, United Kingdom
27-29 November T: +44 (0)161 464 4750
Istanbul, Turkey www.arc-magazine.com
www.light-building-istanbul.tr.messefrankfurt.com ISSN 1753-5875

arc (ISSN No: 1753-5875; USPS No: 21580) is published bi-monthly by Mondiale Publishing, UK and is distributed in the USA by RRD/Spatial, 1250 Valley Brook Ave, Lyndhurst NJ 07071.
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Mailed by Spatial Global · Printed by Buxton Press · To subscribe, visit www.arc-magazine.com or call +44 (0)161 464 4750.

018 / 019
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 eye
opener
Dan Flavin. Dedications in Lights
Basel, Switzerland
Under the title Dan Flavin. Dedications
in Lights, the Kunstmuseum Basel has
dedicated an extensive exhibition at its
Neubau venue to the pioneer of Minimal Art.
American artist Dan Flavin rose to fame
in the early 1960s with his work with
industrially manufactured fluorescent tubes.
Showcasing 58 works, some of which that
have never been on view in Switzerland,
the exhibition presents a thematically and
chronologically organised survey of Flavin’s
singular oeuvre, with a focus on works
he dedicated to individuals or events. The
exhibition is the artist’s first major show in
Switzerland in 12 years.
Taking many different forms, the dedications
introduce an emotional dimension and
highlight the web of artistic and literary
references and personal relationships that
informed Flavin’s work. One central objective
020 / 021
of the exhibition at the Kunstmuseum Basel
is to throw this dimension of his art into
relief.
In addition to Flavin’s installations,
some of which take up entire rooms, the
presentation includes drawings; portraits
and depictions of nature that have received
comparatively little public attention, as well
as sketches for works and diagrams. The
small notebooks he kept were a vital tool
for Flavin, and constitute a kind of archive of
his oeuvre, which spans over three decades.
The exhibition also brings into focus the
social and historical context in which Flavin’s
seminal earliest works with light came into
being.
Dan Flavin. Dedications in Light brings
together 35 light installations, 21 works on
paper, two early paintings by Flavin that
are rarely displayed, and a selection from
the works by Urs Graf that Flavin chose
for his presentation at the Kunstmuseum
Basel in 1975. It includes works from
eminent public and private collections, and
institutions such as the Guggenheim Abu
Dhabi; the Pinakothek der Moderne, Munich;
the Kunstforum Ostdeutsche Galerie,
Regensburg; the Museum of Modern
Art, New York; and the Panza Collection,
Mendrisio. Thanks to the close collaboration
with the artist’s estate and his studio, the
series untitled (for John Hearfield) is shown
in its entirety – the first such presentation
in Europe, while several of the works on
display have not been in a public exhibition
for decades.
The exhibition will run until 18 August, 2024.
www.kunstmuseumbasel.ch
Image: Florian Holzherr © Stephen Flavin / 2024, ProLitteris, Zurich,
The Dan Flavin Estate, Courtesy David Zwirner
Drawing Board

Changfeng Mixed-use Development

Shanghai, China

Foster + Partners has revealed designs for the collaboration. Multi-level terraces are combined
Changfeng mixed-use development, which will with flexible floorplates to cater for a variety of
form an integral part of the Shanghai Science tenants. Double-height sky atriums and roof
and Technology Finance cluster in the city’s Putuo terraces form a vertical green landscape and
District. enhance natural ventilation within the towers. The
Part of the wider Shanghai 2035 Masterplan, the office buildings’ metal façades feature horizontal
scheme sets a new benchmark for developments canopies and vertical fins, which are positioned to
across the city, stitching into an existing network of optimise energy efficiency, while Crittall windows at
public green spaces to enhance wellbeing. the podium level nod to the site’s industrial past.
Centring on the Lightweight Process (‘LWP’) model, www.fosterandpartners.com
the practice’s design seeks to provide new high-
quality spaces for ‘living, working and playing.’
The development brings together a rich mix of
retail, offices, affordable housing, public facilities
including an arts centre, and recreational areas.
Gerard Evenden, Head of Studio, Foster + Partners,
said: “The project transforms an industrial area
into a vibrant mixed-use neighbourhood in the
heart of Shanghai. The human-scale development
is designed to improve connectivity across the site,
bringing people together and improving wellbeing
through art, greenery and outstanding new public
spaces.”
A central green axis runs directly through the
development, from north to south, connecting its
two main access nodes. Smaller secondary streets
intercept with the central axis to create a highly
permeable and accessible scheme. The streets are
designed at human scale and buildings step back
for natural ventilation, creating characterful and
healthy spaces for the community to enjoy.
At the heart of the scheme, a flexible arts centre
known as Jia Art, features 5,000sqm of exhibition,
event, and educational spaces. Inspired by the
spring blessing flower that is native to the local
park, the petal-like structure embraces a generous
central plaza that sits at the intersection of two
primary axis. The arts centre provides a range
of public spaces where the local community can
gather and exchange ideas. The interior space
follows the same petal-like form and is crowned by
a glass roof, which brings natural light deep into
the central atrium. The building’s upper façades
are made from tubular glass with stainless-steel
back panelling, which can be lit up to dramatically
animate the development at night.
Offices are located to the north of the central axis,
providing a new landmark on the busy Jinshajiang
road. The towers offer exceptional views of the
city and Changfeng Park, and include a range
of amenity spaces, which act as a catalyst for

022 / 023
Images: Foster + Partners
DRAWING BOARD
Image: Andreas Palfinger / Aysin Sahin
East River Conservatory
New York, USA
Andreas Palfinger and Aysin Sahin have unveiled
the design for the East River Conservatory in
New York City, which covers a total site area of
9,000sqm, and includes three major programmatic
functions: greenhouses, markets and a composting
facility.
It should provide the citizens of New York City
with a new public gateway at the waterfront,
harmonising a circular model of production
(greenhouses), distribution and consumption
(market) and waste utilisation (composting), which
again feeds back into vegetable cultivation in the
greenhouses.
The project is located in Long Island City, Queens,
right next to Queensboro Bridge, on the East
River, facing Roosevelt Island and the skyline of
Midtown Manhattan. Views across the river range
from the Empire State Building at 34th street, the
United Nations headquarters on 46th street, up to
Billionaires’s Row at the southern end of Central
Park. Further, the site connects to the East River
ferry and the newly panned Brooklyn-Queens
waterfront greenway.
Inspired by the almost sublime enchantment
024 / 025
experienced while walking underneath
Queensboro Bridge – with the roadway floating
more than 40 metres above one’s head – the East
River Conservatory project aims to evoke this
impression of “lightweight heaviness,” a typical
urban characteristic of New York City, by lifting up
the main greenhouses and suspending them from
a composition of steel tube arch bridges. A surreal
experience is further supported by mirror-like
panels covering the undersides of the hanging
structure, reflecting sunlight, people and the
movement of the river.
As for the Queensboro Bridge – a cantilever truss
bridge – the East River Conservatory project’s
form is driven by the catenary curve shape of the
compression arches, supporting each other to
create a stable composition.
The structural design was developed with
consultancy of Cristobal Correa, Principal at Buro
Happold NY, who also worked on the Singapore
Jewel Changi Airport by Safdie Architects, the High
Line by Diller Scofidio + Renfro, or the National
9/11 Memorial Pavilion by Snøhetta.
The hanging greenhouses – trusses suspended
from steel tube arches utilising load-bearing
steel cables – feature a self-supporting double-
curved two-way cable-net with point-fixed
glazing system. Aluminium shading elements are
optimised through solar analysis and greenhouse
requirements. Mechanical systems run through the
greenhouse floors, as a certain depth is predefined
through trusses. The lower part of the building
is cladded in GFRC panels, creating a quarry-
landscape-like atmosphere, with certain elements
being perforated – enabling light rays to illuminate
certain interior spaces.
The façade systems were developed with
consultancy of Reid Freeman, founding principal
of the Brooklyn based firm REID Architecture PLLC.
Mechanical systems were developed with engineer
and MEP consultant Kevin Hillery (Buro Happold NY).
www.andreas-palfinger.at
 ONE QUEEN, AUCKLAND

Product used: MIMI Poki

Project: One Queen Street – Deloitte Centre & Intercontinental Hotel, Auckland
Lighting Design: Switch Lighting Design + NDY Auckland
Architect: Warren & Mahoney
Photographer: Thomas Seear-Budd
 After 18 years at the renowned institute Hochschule
Wismar, Michael F. Rohde is retiring from his position as
Professor of Architectural Lighting Design. arc spoke with
Rohde about how he first arrived in Wismar, and how the
Architectural Lighting Design programme has changed
during his time at the university.
How did you first get into lighting?
When I started studying architecture, I stopped
buying luminaires and began designing them
myself. The first ones were pretty awful from
today’s point of view, but shortly before I got my
diploma I took part in student competitions and
I won some prizes with my solutions. At that time
IN CONVERSATION I never thought of being a lighting designer. I
MICHAEL F. ROHDE got my diploma in 1987, when there were not so
many lighting designers around. I worked as an
architect in Mannheim for Prof. Carlfried Mutschler.
While there, I met Hans T. von Malotki, one of the
two founders of Lichtdesign Cologne, who was
designing the lighting for the representative parts
of the project. He told me he wanted people like
me in his office and he recommended I visit David
Loe, who was the founder of the first European
MSc in “Light & Lighting” at the Bartlett School of
Architecture at UCL, London. I did that and started
my postgraduate in the winter of 1990.
When and how did you join the Architectural
Lighting Design programme at Wismar?
My professorship started in the winter term of
2006. Before, I was an assistant professor in
Hildesheim, where we kick-started the architectural
lighting design programme together with Prof.
Josef Strasser and Prof. Gero Canzler. Apart from
Wismar, this was, almost at the same time, the first
attempt in Germany for an educational lighting
programme at university level.
Why did you want to get into teaching?
I was already a tutor while studying myself, and
I liked to share my experience and consult the
younger generation. I also found that explaining
and sharing ideas helped me in the design
process. When I returned to Germany in 1992 my
friends, with whom I studied architecture, thought
that I should get into teaching architectural
lighting design. They told me that they always felt
something was missing in studying architecture,
where we got just some technical explanations. At
that time, I worked for Siemens lighting division.
My duties were practical lighting design projects to
support the marketing department on a national
and international level, and working on internal
product design teams. I also had to develop
teaching methods for architects/interior designers
and electrical engineers. This ranged from
technical information, to the importance of “gestalt”
and that “There is no architecture without light”.
Coming back to the “Why”: I always liked to
explain what I was doing, I loved and I appreciate
interaction and communication with students
and in general people interested in the subject of
026 / 027
lighting. For me, teaching it is so enjoyable and I
wouldn’t describe it as “work”! It’s fun and the best
is to see how former students are successful in the
further development of their careers.
How has the programme changed?
We went through a technical revolution over the
last two decades. We had to update everything and
make sure that we were not teaching the “history
of lighting design”. It was important for me to
stay in practise with my own firm L-Plan Lighting
Design. Manufacturers have the habit to first share
their innovations with lighting practices. I reminded
them to send catalogues and product samples to
the University of Wismar as well.
In 2008 I was the founder of the Light Symposium
Wismar (LSW). Our main concern was the subject
of light and health and lighting for wellbeing. KTH
Stockholm was our first partner on that scientific
conference. Since 2021 we have two more partner
universities (AAU Copenhagen, Denmark and
NSU Kongsberg, Norway). This allows us to have a
conference format on “Light & Health” every year.
Do you have an overarching philosophy or
message for your students?
One of the crucial things I like to implement is the
importance of daylight – the headline of one of my
lectures is: Daylight: the mother of nature, i.e: man
and all life on Earth.
How varied is the background of students at
Hochschule Wismar?
The background of our students is very
international, they come from all over the
world. Most students are from architecture and
interior design, but we also accept students from
product or communication design, a few have a
background in theatre lighting. The mix is fantastic
and a great aid to the programme. Specifically, the
mix of nationalities, cultural backgrounds and the
differences of professions is a great inspiration.
What do you think the future holds for the
lighting design profession?
My hope is that lighting designers and lighting
manufactures, including architects, interior
designers and their clients, (i.e. project developers)
work together for a higher quality of architectural
lighting design. Artificial lighting should be as
healthy as daylight can be, it includes the necessity
of darkness during the night.
Maybe that sounds too easy, but it will remain a
challenge to be fully implemented into practical
projects.
www.hs-wismar.de
 C

CM

MY

CY

CMY

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Snapshot
Light&Studio
Boasting more than 200 projects across 35 countries, Madrid-
based Light&Studio designs both technical and decorative
lighting solutions across a broad portfolio of work. Here, we
look at some recent highlights from its portfolio.
Pull&Bear
1 Multiple Locations
Part of the Spanish fashion giant Inditex,
Pull&Bear is a brand born for the youth.
Always including the latest trends
in fashion and music, it champions
creativity, diversity, and sustainability.
The stores embody a futuristic design
brought to life with the help of metals,
concrete, digital screens, natural elements,
and lighting designed specifically for them.
Whenever you visit P&B, you’ll find a mix
of technical and decorative lighting that
complements the interior design. The lighting
layout also distinguishes different areas: sales
area, cashier, fitting rooms; even the staff area
has fixtures designed specifically for that space.
The L&S team joined forces with the client
to design and develop products that fulfill
the store’s lighting necessities: from colour
temperature, CRI, power, and fixture finishes,
to solve the store’s lighting needs. It’s
important to highlight the ability to recreate
this concept wherever the store is located,
as this is a brand with global locations.
Although the concept is currently being
executed, we can’t forget that stores, like
fashion, are constantly evolving. Therefore,
the L&S retail team is always working to
identify trends and new solutions to present
to Pull&Bear, and all the other brands it works
for, ensuring they are aligned with their vision.
Frankie Burger
2 Multiple Locations
For L&S, light is the way in which we connect
with the essence of a place, convey the
brand image, and play with the materiality
of the space. It is the link between the
substantial (architecture and interiors)
and the intangible (brand and essence). A
significant challenge arises when the brand
style needs to be replicated in different
locations and becomes the key to space design.
Therefore, from unity to multiplicity, L&S sets
its basic parameters where aesthetics and
functionality are crucial for these projects.
In this traditional burger establishment,
the designers aim to convey the brand’s
essence through light, emphasising domestic
quality products and the craftsmanship
028 / 029
behind them. Hence, the combination
of technical and decorative lighting.
Apparently simple, the technical lighting is
represented with spotlights containing light
engines capable of creating different spaces
and a sense of comfort. Narrow beams,
warm temperatures, specific locations, and
product aesthetics are almost drawn within
the space. The technical specification was
based on products with minimal dimensions,
keeping all horizontal surfaces clean. On the
other hand, there is the decorative lighting.
Following the same design line of drawing the
space, L&S took advantage of the dimensions
and the architecture to paint with light on the
edges. Shapes merge in this light and matter
sketch – light lines that accompany and unite
the space to become one and create unity.
This light scheme allows us to project the
space and build a comfortable and sober
atmosphere, taking advantage of the
restaurant’s height and balancing the lighting
to be pleasant throughout the day, while
also creating a cohesive effect from inside
out so that its light becomes a whole.
Vandido Disco
3
Madrid, Spain
When a low-ceilinged basement transforms
into a renowned discotheque, it’s where
light truly works its magic. The challenge
of harmonising space, light, and sensation
is a standout feature of this project.
From the entrance to the central area,
where the stairs and reception stand out,
the significance of materials begins to
emerge as light interacts with surfaces:
uplight giving volume to textile walls, lines
and points of light highlighting the stairs,
and recessed lighting in the expansive
alabaster modules of the bathrooms,
making them visually lighter elements.
The space becomes a dynamic dance of
materials reflecting and amplifying the
effects of light and depth, creating illusions
of impossible heights. Subtle nods to other
elements are incorporated, such as the DJ
booth, where integrated lighting in luminous
reliefs subtly reference the format of vinyl
records. The light serves both function and
form, with vertical luminaires playing off
mirrored materials to generate visual rhythm,
guiding patrons from one area to another.
An additional focus in L&S projects is to
add volume and significance to vegetation,
thereby expanding visual perception and
creating a greater sense of space for viewers.
As a natural element, it also incorporated
liquid volumes, enhancing and illuminating
bottle racks with linear LEDs. However,
functionality is never compromised, as
technical lighting is integrated for the
bar staff, using LEDs and focal points.
In the end, the space is a canvas where
materials and intensities are manipulated,
resulting in light effects that guide and
enhance the overall experience.
Thompson Madrid by Hyatt
4
Madrid, Spain
Working for a large hotel chain is always a
significant challenge. A substantial part of the
job is to thoroughly understand the brand
image and integrate it until we feel a part of
it. That’s when we are ready to translate that
brand into light. Every lighting decision we
make has to align with the project’s concept.
Each aspect of its personality must have a
lighting representation in such a way that the
proposal not only allows us to discover the
space but also infuses soul into the project.
L&S always strives to support hotel chains in
their endeavour to surprise, highlight, and
connect with their target clientele. That’s why it
is highly motivated to design and manufacture
bespoke fixtures that are not available in the
market and that enhance the project’s concept,
whatever it may be. An engineering team
helps the team materialise these proposals by
combining creativity, design, and technology.
In the case of Thompson by Hyatt, they
made it straightforward because they had
a well-defined and developed concept.
The importance of natural elements,
elegance, and the nobility of materials
were the foundational pillars of the interior
design project. Collaborating with Lopez
y Tena Arquitectos, L&S devised a lighting
proposal that accentuates the textures and
finishes while shaping the architecture
and creating pathways within the space.
 2

Light&Studio is not just a light consultancy; it seeks

to trigger emotions in each of its projects, always
working hand in hand with light. It plays with
textures, shapes, and colours, and above all, the way
each of them harmonises with light.
Based in Madrid and backed by 30 years of expertise,
Light&Studio is a multidisciplinary team that
collaborates with renowned architects and interior
designers to help them bring their lighting visions to
life. Whether it’s a technical or decorative solution,
L&S provides comprehensive lighting consultancy
services: from concepts to all the technical 3
information necessary to bring projects to fruition.
It is proud of its diverse portfolio, which includes
hospitality, retail, real estate, and artistic projects.
Additionally, it has a specialised team responsible for
training design industry experts, providing them with
the essential knowledge and tools that they can apply
to future projects. This School of Light aims to expand
the culture of light and provide professionals with the
knowledge to understand our working tool, enabling
us to share a common language.
The studio’s passion is light and all the experiences
that can be created with it.

100 / 100
 Milan Design Week 2024
Returning this April, Milan Design Week once
again saw the Italian city awash with visitors
eager to see the latest trends and innovations
in design. Katia Kolovea, reports back on her
COMMENT findings in an exclusive from Milan.
KATIA KOLOVEA
My first Milan Design Week (MDW) was in 2022,
when I first experienced the emotion of walking
through the streets filled with design vibes at every
corner. Brands, showrooms, restaurants, and shops
go all out, creating captivating installations inside
and outside their spaces. They use vibrant colours,
reflective materials, and innovative designs to invite
visitors in, offering them a unique experience.
After that initial visit, I promised myself I would
always attend this incredible event. Since then,
MDW has become a permanent fixture on my
travel calendar. I returned in 2023 for my first
Euroluce, and now, in 2024, I was back as a more
experienced MDW visitor with a clearer idea of
what I was looking for.
For those who haven’t visited yet, Milan Design
Week hosts an annual festival that centres around
Salone del Mobile, the leading fair focused on
furniture and interiors. Alongside this, there are
various exhibitions, installations, pop-ups, talks,
and workshops. Every two years, Euroluce, the
dedicated lighting fair, showcases both decorative
and architectural brands attracting thousands of
worldwide attendees.
As a lighting designer, when Euroluce isn’t on,
I concentrate on the Fuorisalone. This part of
the event takes place in various design districts
throughout central Milan, including Brera,
Isola, Tortona, and Porta Venezia – my personal
favourites.
The atmosphere is electric – just like a big
celebration. There are hundreds, maybe thousands,
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of activities, presentations, parties, talks, and events
happening simultaneously, making it impossible to
see everything. There’s always a bit of FOMO (“fear
of missing out”), but with good planning, you can
prioritise your must-see events and still leave room
for unexpected discoveries.
My aim this time, was to boost my inspiration and
creativity across multiple sectors, including interior
design, product design, architecture, fashion,
and, of course, lighting, which ties everything
together for me. I met new designers and brands,
discovered beautiful products, and connected with
the right people who can support my projects.
Below, I share my personal experience from
the four days I spent in Milan. I spotlight what
inspired me, highlight some must-visit brands
and showrooms, and reflect on a very hectic yet
insightful trip. Let’s begin with some selected
lighting showrooms, then move on to the most
unique installations I encountered across Milan,
and end with some unique moments.
Our experience began at the brand-new Contardi
Lighting showroom on Corso Monforte. Archifos
had the unique opportunity to visit, create content
through the lens of a lighting designer, experience
the collections, and interview architect Chiara
Caberlon, the designer of the portable outdoor
lamp Clara. This family-owned business is full of
passion, innovation, and fresh ideas – a brand to
definitely get to know. Corso Monforte could be
named Milan’s lighting showroom street, with many
brands choosing it for their premises.

Highlights from Milan Design Week 2024 included Beyond the Horizon, an immersive art experience from Lexus (left), and Crystal Beat II
Next, we had an informative tour of Flos
Professional Space, where we experienced an
interesting setup by Arquitectura-G studio called
Out of Office. This installation reimagined a
contemporary open-space office as an extension of
the Arquitectura-G studio in Barcelona, connected
by real footage of a working day. It showcased the
Workmates series by Flos Architectural, designed
to meet the dynamic lighting needs of the modern
workplace.
The Foscarini showroom was another pleasing
encounter. Apart from its typical collection, its
Habitus collection stood out. It showcased the
interplay of light, embroidery, and textiles by
Foscarini and Andrea Anastasio in collaboration
with Amal.
Leaving Monforte and heading to
Montenapoleone, our next stop was the intriguing
Tom Dixon pop-up showcase in the Manzoni
restaurant. This experimental space, or as they
call it, “a theatrical backdrop for the best of Italian
food and British design”, was truly inspiring. Being
MILAN DESIGN WEEK
from Preciosa (right) - a dynamic light installation where 400 interactive crystal cubes form a sensorial experience for visitors.
(All images courtesy of Archifos)
surrounded by people enjoying their lunch while
exploring the new lighting collection and all the
reflections, mirrors, and materials used was a
unique experience.
Next, we visited the new Davide Groppi showroom.
If I had to describe it in one word, it would be
“Poetry.” I was particularly impressed by how I
felt walking around the various rooms on the
basement floor. The combination of the minimal
lighting, subtle colours, textures, plants, and the
overall architecture was very well done.
Before moving to another zone, we accidentally
discovered the Gessi showroom – perhaps the
most sensory showroom I have ever visited. Gessi
designs and manufactures exclusive bathroom and
kitchen fittings and furnishings. Its expansive space
spans multiple levels. To describe it, imagine an
intersection of lights, shadows, contrasts, pink and
natural colours, relaxing and real sounds of water,
and well-curated scents, allowing you to immerse
in nature and forget the day’s tiredness. A must-
see on your future visit.
MILAN DESIGN WEEK
Ploom showroom
Just before we move to installations and
experiences, I want to spotlight three more
showrooms in the Moscova and Brera zones.
Starting with Lodes, which transformed its
façade and central installation into a striking red,
attracting visitors to explore the Oblò by Paola
Navone. Beautiful finishes, with my personal
favourites being the Iridescent and Azure Steel
versions.
Nearby, another must-see at every MDW,
Viabizzuno’s beautiful outdoor showroom space,
which always impresses with its narrative and
presentation of new and older collections. The
interplay of sunlight, shadows, and various
materials were a great addition.
Last but not least, as we walked towards Brera,
Archifos had the great opportunity to collaborate
with iGuzzini and narrate the Light that Moves Time,
a design exhibit by Alfonso Femia demonstrating a
journey where past and future intertwine. You can
find this content on our social media platforms.
Now it’s time to leave the centre for a while and
move to one of my favourite zones, Tortona – a
more “raw” creative area slightly outside the city.
We had time to visit four spaces there.
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Starting with Preciosa’s Crystal Beat II experience,
another must-see. Every year, it creatively utilises
its product range, combining light and sound to
provide an immersive experience for visitors. This
year’s installation included a soundscape inspired
by 1980s gaming to reflect the Crystal Pixels’
homage to digital pixels. I loved observing how
everyone interacted with the lights, walking around
or sitting and enjoying the show.
Next, we visited Agua by Archiproducts, a design
exploration curated by Studiopepe highlighting
the world of interiors, with many beautiful lights
enhancing the space. It was a well-curated display
of products, textures, and colours, bringing lots of
new ideas for current projects.
Our next stop was the yearly exhibition,
Superstudio Piu, which includes multiple
exhibitions, artists, and installations. If I have to
highlight only three, they would be:
1. Beyond the Horizon by Lexus, an immersive
art experience inspired by next-generation
mobility. Created by Marjan van Aubel with
musician Keiichiro Shibuya and designer Hideki
Yoshimoto, it immerses visitors in a light and sound
performance. The bamboo fiber backdrop acts as
the diffuse lighting source, with the central piece
being the LF-ZC car, symbolising innovation and
future mobility.
2. Like Trees in the Woods by Michele di Agostino, a
strong experience merging nature, materials, and
technology. The organisers provided black plastic
shoe covers, inviting visitors into a mirrored room
with real oak wood typical of the Italian landscape.
It was an extraordinary visual experience where I
felt very relaxed and connected with nature.
3. Habits, an industrial design studio working
with a fascinating blend of new technologies, AI,
light, and various materials. A standout series to
search for is DDD Digital Domestic Dialogues.
The lamp called 1g1lm by Min Dong is particularly
fascinating. This lamp was born from a simple but
intriguing question, “What would be the effect if
light had a tangible weight?” Check it out.
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 Returning to the centre of Milan, a couple more
fascinating installations caught our attention,
starting with the fashion brand Loewe, which
unveiled lamps created by 24 international
artists. This special Loewe Lamps edition featured
materials ranging from birch twigs and horsehair
to leather and Japanese washi paper – a captivating
display of materials interacting with light.
Next, we visited Moooi and experienced the A
Life Extraordinary exhibition, spotlighting new
designs by Cristian Mohaded and BCXSY, alongside
lights, carpets, and furniture. It was a beautiful
surprise, combining set design, lights, sound, and
an overall performance that redefined light as a
living, breathing entity – a beautiful storytelling
experience.
Another standout exhibition was at Rossana
Orlandi’s art gallery, where I discovered many new
artists and had the opportunity to meet in person
one of the designers behind Mandalaki Studio,
whose work I admire. They launched their brand-
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new Hypersun floor lamp, another piece worth
exploring.
Next, we have a site-specific installation that
celebrated colour and daylight, creating another
fantastic multisensory experience, with the longest
queue I’ve ever seen during MDW. ElicaCooking,
in collaboration with Ermanno Casoli, presented
Straordinaria, an immersive installation designed
by the Japanese design studio we+. Look online for
some beautiful pictures.
Lastly, a must-add to everyone’s Fuorisalone list is
the Statale University. Every year, they host multiple
installations, big and small, with collaborations and
support from big brands. One of the standouts
this time was the Amazing Walk by Amazon, an
installation by MAD Architects that combined a
real environment with augmented reality, allowing
visitors to walk towards the central mountain
and explore a wide selection of home products,
furniture, lighting, and smart home gadgets
available on Amazon. A very interesting experience

with elements of water, fog, sounds and light.
As we move towards the conclusion of this
feature, I can’t skip mentioning the beautiful
parties happening everywhere during MDW. It
was challenging to decide where to go, but if I had
to pick a favourite from this visit, it would be the
one from Simes. They truly know how to combine
Milan’s beautiful vibes with a view directly in front
of the Duomo, live-cooked food, live music, and
great company. If you receive an invite, don’t miss
their party!
I’ll close with two of my most impactful and
emotional experiences – I felt super lucky to attend
both. I visited Palacio Visconti on a private tour and
experienced a dazzling installation by Flos, where
the past meets the present in a fascinating context
surrounded by Baroque interiors, contemporary
glass creations, multiple mirrors, and beautiful new
designs by Michael Anastassiades, Barber Osgerby,
and Formafantasma. Thank you Michele!
Lastly, my most emotional and strong multisensory
MILAN DESIGN WEEK
experience – The Blind Experience organised
by Contardi in collaboration with the Institute of
the Blind. Dialogue in the Dark is a life-changing
experience where visitors are guided by blind
guides in absolute darkness. We experienced daily
environments from a completely new perspective,
walking in the park, going for grocery shopping,
crossing a moving wooden bridge (that was very
scary), visiting a café and so on, activating all
senses apart from vision and taste. My senses
were over activated and experienced very deep
emotions. Towards the end, there was a fantastic
exercise where we were standing around a table
and touched various materials from the Contardi
collection guessing which product is behind. When
the experience ended, it took me some time to
get back to normal. This is a highly recommended
experience for everyone, especially fellow lighting (L-R) Hypersun Floor Lamp, Mandalaki Studio,
Rossana Orlandi gallery; Davide Groppi showroom;
designers.
Straordinaria, by we+ in collaboration with
www.archifos.com ElicaCooking and Ermanno Casoli;
Amazing Walk by Amazon and MAD Architects.
 eye
opener

Printworks
Manchester, UK
Cundall has led the lighting scheme for The Light Lab worked in close collaboration
Printworks in Manchester, a £21m redevelopment with Cundall, and CDA Architects, designing
that boasts Europe’s largest digital ceiling screen. and fabricating bespoke LED signage and
Located in the heart of Manchester’s city Glowpanel lighting for both interior and exterior
centre retail district, the Printworks – a vibrant applications. This included custom brand signage
entertainment and leisure centre – is situated in for Printworks and other brands within the
a 150-year-old listed building. The new aesthetics developent, as well as large-scale interior and
of the space add to what the venue already has external illuminated glass panel features.
to offer. The digital ceiling screen is 1,000sqm in “The historical significance of the Printworks
area – the largest in Europe and first of its kind in building in Manchester has made it such an
the UK, and it completely transforms the space. enjoyable project to do the lighting design for.
Approached by Avid Property Consultants, on It is great to see it take on a new energy as a
behalf of DTZ Investors, Cundall was asked prominent entertainment and leisure venue in
to provide multi-disciplinary design services, the heart of the city,” commented Liz Skelton,
including lighting, for the renovation of Principal Lighting Designer and the lead lighting
Printworks. designer on the project.
Cundall’s specialist lighting team looked to “Being able to incorporate the history of
provide a considered and dynamic lighting letterpress printing into the lighting design was
scheme that complemented the architectural an important consideration from the get-go,
enhancement of the building, together with the and it is exciting to see it delivered. There is an
new immersive digital ceiling screen. The lighting important retrofit story to tell here as well. Most
scope included the historic building façade, with buildings in the UK are already built, we know
a key focus on arrival points and the internal that retrofitting is a lot more sustainable than
‘streets’ and ‘pumpyard’ space. rebuilding. Most buildings carry a rich history in
Printworks used to be a newspaper printing terms of how they were used. Incorporating this
house from 1873 to 1985. When designing the memory for Printworks when designing it was a
external feature wall luminaires, the lighting fantastic experience.”
designers retained this piece of Printworks’ www.cundall.com
historical significance. To create this effect, they
used frosted glass designed to look like printing
blocks. The luminaires behind the glass blend
into the building façade during the day. At night,
it provides an eminent block feature detail.
At the pedestrian-level, the team created an
intimate lighting effect with a direct contrast to
the RGBW grazed light to the upper tiers of the
façade frontage.
From the decorative wall lights to the historic
façade, to colour-changing uplights and radial
luminaires, every detail combines elegance
with functionality. The internal lighting scheme
guides visitors through an immersive experience,
synchronising with the venue’s digital ceiling
screen.
RGBW linear wall-grazers and architectural
projectors are programmed via a Pharos control
system, and the lighting scenes are synchronised
to run cohesively alongside the digital content of
the venue’s new ceiling screen. Luminaire tracks
are positioned along each edge of the screen for
a seamless finish, allowing the lighting solution
to blend into the background.
Elsewhere, external and internal lightboxes from
The Light Lab, as well as an “entrance totem”,
act as wayfinding tools both on the building
approach and through the centre itself, while also
acting as a focal point for signage.

036 / 037
Image: Jason Lock
 Clients: can’t live with them,
can’t live without them
The dream project is often given to you by the dream
client, but how do we find the right clients for us?
Marcus Steffen breaks it down.
COMMENT
MARCUS STEFFEN
Clients are the ones who make our businesses
work. It doesn’t matter if you dream of making
the most amazing lighting design, if a client is not
going to pay you to do it, you cannot realise that
dream. But dealing with them can be difficult,
and causes huge stress. So how do we find those
dream clients?
Not everyone is a client
The first thing to realise, is that not every person
is a client. Not every enquiry is the right one for
you. As an example, MS Lighting Design specialises
in residential and hospitality projects. If I get an
enquiry for laying out a 600x600 grid in an office,
or producing an external landscape design for a
commercial property, I will tell them we are not the
right designer for them. These are not right for us,
and our service is not tailored to them.
This might sound counterintuitive for a person
running a business, but actually it is essential to
learn. You need to learn what you do and don’t do
for your business, or who you are as a designer.
Ask yourself, what do you enjoy doing? What kind
of projects are you an expert in, more than anyone
else?
It is often much better to be an expert in a small
area rather than a jack-of-all-trades. Clients will
often want to hire an expert if they value what
they are getting. And the clients who do not value
lighting design? They are not going to want to pay
the fees you are justified earning.
Finding good clients
Finding the right client is not done when an
enquiry comes in, but starts in your marketing and
online presence. This can act as a filter to push
away clients who are not the right fit before they
even enquire, and attract ones who are a good
fit. While this might reduce the total number of
enquiries, it will increase the value and conversion
of these clients. To go about this, you can do a
number of things:
• Define what it is like working with your company.
Show the client how it will be to work with you,
038 / 039
the process you go through, and how you are
organised. If they like the way you work, then
there will be a lot less friction. If you work a four-
day week, tell them, and then they cannot justify
getting upset if you are not in the office on Fridays.
• Show your style. If you love colour in your
projects, and big, flamboyant designs, then show
this, so that you only get clients who want this style
of design. Attract the designs you want, and say no
to the ones that don’t align with what you love.
• Show off your values. What is it that you care
about the most? Talk about that on your social and
written media. If your company is focused heavily
on sustainability and circular design, it is going to
be challenging to work with a quick, cheap shop
fitting company, which often has a lot of waste. Put
these values front and centre and they will filter
your enquiries to ones who want that expertise.
Avoiding bad clients
Finding good clients is often a case of being able
to say no to the bad ones. The number one reason
we say yes to bad clients is money. If you have no
way to pay the bills at the end of the month, you
will compromise. To really build those amazing
partnerships, you have to wait for the right clients
to arrive. To wait for them, you need to have money
in the bank.
If you can cover expenses for at least three months
(sometimes more depending on sector), you can
say no to a project and reliably find something in
the future. This is essential to both balance out
the ebb and flow of work, and not be forced into
accepting a poor project.
If you don’t have this buffer, the client can push
down your fee, change the terms, etc, and you will
still have a hard time saying no. This is also true if
you are an employee looking for a job, where you
need to be able to look for the right job, not a job
right now.
Unfortunately, the other best way of avoiding a bad
client is experience. Once you have had a few you
start to recognise them. For example, if someone
said to me that money is no object, I am going to
“It is much better to
be an expert in a small
area rather than a jack-
of-all-trades. Clients
will often want to hire
an expert if they value
what they are getting.”

run a mile. Money is always a consideration, so I

am either talking with someone who has no control
over the money, or no appreciation for it, and both
of those are bad.

Keeping good clients

It costs on average approximately four times as
much to acquire a new client as it does to keep an
existing client. So, maintaining those relationships
with good clients is essential. I have found there
are three stages to knowing I am going to be able
to work with someone long term:
1. First Impression
The first impression is important, so try to make
one. All the cliches apply here (don’t be late, be
prepared, etc).
2. First Invoice
When you send the first invoice, this is a key
moment. We always take a deposit for starting a
project, and how the client treats this is a good
indicator of whether you will be working with them
in the future. If it is argued over, paid late, etc, it is
going to be difficult to work with them. There is no
point doing the work if you are not getting paid on
time. Conversely, those clients who pay the invoice
immediately are often some of the best clients to
work with. They appreciate your services, value
them and want to make sure you are looked after.
3. First Mistake
This is a big one. There will be mistakes. We all
work on hugely complicated projects which can
take years to complete. If someone says that they
never make a mistake, then they’re lying. Mistakes
are a part of the work and working together to
fix them is essential. How you approach the first
mistake with the client will really define your
relationship with them and this can come from
both sides. If the first reaction is to blame someone
and shift responsibility, then it will turn bad quickly.
If the client engages with you and wants to work
constructively to find a solution, then they have the
potential to be a dream client.
www.mslightingdesign.co.uk
Image: Amina Atar, via Unsplash
 talking
with…

“I’ve always been

drawn to the
interplay of light
and shadow,
and how it
can transform
spaces and evoke
emotions.”

Dorothy Di Stefano
With more than 70,000 followers
on LinkedIn, Australian art curator
Dorothy Di Stefano has fast become
an internet celebrity in the lighting
and design sphere. arc sat down with
Di Stefano to talk about light, art,
design, and what she looks for when
curating events.

040 / 041
Dorothy Di Stefano, speaking at Light + Intelligent Building Middle East, Dubai, 2024
(Image: courtesy of Light + Intelligent Building Middle East)
 I
f you are a lighting, or design professional, and
have been on LinkedIn at any point in the past
few years, chances are high you will have seen a
post from Dorothy Di Stefano. With a following
of more than 70,000, the Australian art curator
is something of a “LinkedIn Celebrity”, regularly
sharing some of the most amazing and inspiring
works of immersive art from across the globe.
Founder and Director of art collective Molten
Immersive Art, Di Stefano has curated art events
around the world, including the immense Noor
Riyadh in Saudi Arabia, and stands as a leading
authority in the captivating realm of narrative-
based immersive and interactive art.
Following her star appearance at Light + Intelligent
Building Middle East in Dubai at the turn of the
year, arc was lucky enough to sit down with Di
Stefano to find out more about her backstory, and
what she looks for when curating immersive art
events.
With a career that has spanned marketing
and architectural drafting, to multimedia and
audio engineering, Di Stefano describes her
path as “more like a spontaneous dance than a
meticulously planned journey”, but her fascination
with immersive art has been there, in some
fashion, since she was a child.
“My journey into the world of art and immersive
experiences was fuelled by my love for the beauty
around us and my unwavering passion for music,”
she says. “My fascination with art, particularly
at the intersection of technology, stems from a
lifelong love of all things beautiful, and an innate
curiosity about the world around me. Ever since
I was a kid, I’ve been spellbound by the simple
wonders of nature – the fluffy clouds, the crunchy
leaves, and those breath-taking sunrises. These
simple pleasures make me feel alive, and I found
inspiration in the serene beauty of nature, the
expressive power of music, and the captivating
allure of visual art.
“However, it was the marriage of art and
technology, including kinetic sculptures, robotics, piece of the puzzle had finally fallen into place.”
and especially light art, that truly captured my This is where Molten Immersive Art was born;
imagination. I’ve always been drawn to the beginning its journey by focusing on crafting
interplay of light and shadow, and how it can large-scale exhibitions primarily within Australia, Di
transform spaces and evoke emotions. Light art, Stefano soon envisioned a broader scope for the
with its ephemeral nature and ability to create an company, delving into curating events, festivals,
emotional connection, captivated me from the and immersive art-based experiences, driven by a
start.” deep appreciation for the artists themselves.
While Di Stefano’s career began in the graphic “At the core of our vision is a belief that art is more
design industry, where she worked as a business than just the finished piece; it’s about the soulful,
development manager, she “seized the opportunity passionate humans behind the creations,” she
to expand the company’s horizons” as offshore continues. “Our aim is to amplify their voices and
design services became more accessible. As such, provide a platform for them to share their work
she transitioned the business into the space of with the world. Central to Molten’s ethos is the idea
video production and animation, a move she of integrating art into everyday life, making it an
believes “opened up new avenues for growth and indispensable part of our existence, rather than a
innovation”. luxury.”
“I was on the lookout for our next move when As it has evolved, Molten has expanded its horizons
I attended a speaker’s event where the topic of to include creative consulting and art direction,
the power of experiences resonated deeply with and is also set to launch an artist agency, serving
me. It was a pivotal moment. The very next day, I as a hub for organisations, clients, and brands to
redirected the studio’s focus, forging partnerships discover the ideal artist for their projects. “Our
with cultural institutions in Australia to immerse strength lies in seeing the bigger picture and
ourselves in the art scene. It felt like the missing leading teams to manifest artistic visions, all while

042 / 043

fostering relationships built on mutual respect and
trust. Through collaboration and a shared passion
for creativity, we aim to nurture an industry that
fosters innovation and cultivates moments of pure
magic.”
While Di Stefano hopes to bring art to the masses,
a central focus for her is on the burgeoning world
of immersive art, and the multi-dimensional
experience that she believes “transcends the
boundaries of traditional artwork” with a fusion of
tangible and intangible factors.
She continues: “What truly intrigues me is the
idea of making people not just viewers, but
active participants in the artwork itself. The ability
to blend artistic expression with cutting-edge
technology to create immersive experiences that
transcend traditional boundaries is what drew me
into this field. Whether it’s the mesmerising dance
of light and shadow, or the intricate choreography
of a robotic installation, I’m endlessly fascinated by
the transformative power of these art forms.
“At its core, immersive art is about more than just
what you see or touch; it’s about engaging all the
senses to create a truly transformative experience;
TALKING WITH... DOROTHY DI STEFANO
Axion, Christopher Bauder, Noor Riyadh, Saudi Arabia, 2022 (Image: Ralph Larmann)
it’s the interplay of visuals, sound, texture, and even
scent, that transports viewers to another world,
allowing them to escape the confines of their
everyday lives and become fully immersed in the
artwork.
“But perhaps the most ephemeral aspect of
immersive art is the emotional connection it
fosters. It’s about creating an environment where
viewers feel not just like spectators, but like
active participants in the artistic journey. Whether
through interactive elements that invite viewers to
become part of the artwork, or through the sheer
power of the artist’s vision, immersive art has the
ability to evoke a wide range of emotions, from awe
and wonder to introspection and contemplation.
“Ultimately it’s about blurring the lines between
reality and fiction, creating moments of wonder
and connection that linger long after the
experience is over, and tapping into the innate
human desire for exploration and discovery,
creating an environment where anything feels
possible.”
As a medium that is built primarily on technology,
and the participant’s interaction with it, immersive
TALKING WITH... DOROTHY DI STEFANO
Entre Fer Et Mer, Yann Nguema, Gare de la Rochelle, France, 2022 (Image: Studio Pierre 2 Lune)
art has seen what Di Stefano refers to as “a
remarkable evolution” over the past decade, which
she believes has been “propelled by a convergence
of technological innovation and a burgeoning
appetite for more interactive and participatory
experiences”.
Such innovation has seen the wide-scale adoption
of technologies such as projection mapping,
augmented reality, and interactive installations,
which she adds have “revolutionised the way artists
conceptualise and create immersive artworks”.
She continues: “Augmented reality, as an example,
has opened up new possibilities for interactive
storytelling, allowing viewers to engage with
artworks in unprecedented ways and become
active participants in the artistic experience.
“Artists are increasingly blurring the lines between
physical and digital realms, integrating elements
of both to create hybrid artworks that challenge
our perceptions and expand our understanding
of what constitutes art. From kinetic sculptures
that come to life with the touch of a button,
to interactive installations that respond to the
movements of the audience, the boundaries of
immersive art are constantly being pushed and
redefined.
044 / 045
“Beyond LEDs, which have democratised access
to lighting capabilities, artists have embraced a
spectrum of new tools and techniques that have
reshaped the landscape of light art. Advancements
in sensors and other emerging technologies have
expanded the repertoire of tools available to light
artists, enabling them to push the boundaries
of their craft and experiment with new forms
of expression; whether it’s the integration of
responsive sensors that interact with viewers, or
the incorporation of kinetic elements that imbue
artworks with a sense of motion and dynamism,
these technologies have broadened the horizons
of what is possible in the realm of light art, allowing
viewers to actively engage with the artwork,
influencing its behaviour and creating personalised
experiences in real-time.
“Another significant change in the field has
been the growing emphasis on inclusivity
and accessibility, with artists striving to create
experiences that are not only visually captivating
but also emotionally resonant and socially relevant.
There is a greater awareness of the power of art to
foster connection, empathy, and understanding,
and artists are harnessing this potential to create
immersive experiences that address pressing social
issues and promote positive change.”
One of the most significant developments in the
field though, and one that is continuing to change,
grow, and progress with each passing day, is the
influx of AI. Although still in its infancy, we are
already seeing how, working with AI, artists can
revolutionise the way that they both conceptualise
and execute their artworks.
Keeping a very keen eye on the ever-changing
developments surrounding AI, Di Stefano is
fascinated by the “plethora of possibilities” for
enhancing immersive art installations, particularly
in terms of interactivity and personalisation.
“By leveraging AI algorithms, artists can create
dynamic and adaptive experiences that respond
to the audience’s behaviour and emotions in
real-time,” she adds. “For example, AI-driven
systems can analyse biometric data such as facial
expressions or heart rate to tailor the experience to
the viewer’s mood, preferences, and physiological
responses.
“It has also opened up new avenues for artistic
exploration and experimentation, enabling artists
to collaborate with intelligent systems to co-create
artworks. Through techniques such as generative
adversarial networks (GANs), and machine learning,
artists can train AI models to generate novel
and unexpected visual or auditory compositions,
sparking new ideas and pushing the boundaries of
traditional artistic practices.”
In her work as a curator of some of the biggest
and best light art festivals around the world, Di
Stefano has had a front row seat to witness some
of the mind-blowing advancements in the field
of immersive light art, and with this, has had the
opportunity to work closely with some of the most
sought-after names in the field – a privilege that
she is acutely aware of.
“As someone deeply immersed in the industry, I
find inspiration in the work of numerous artists

“At its core, immersive art is
about more than just what
you see or touch; it’s about
engaging all the senses to
create a truly transformative
experience; it’s the interplay
of visuals, sound, texture, and
even scent, that transports
viewers to another world.”
and collectives who are pushing the boundaries of
creativity and innovation, so to name a favourite
artist is like asking me for my favourite sunrise.
“One artist whose work continually captivates
me is Christopher Bauder, a master of light and
sound whose installations are renowned for their
transformative power and mesmerising beauty.
His ability to create immersive environments
that evoke a sense of wonder and awe is truly
extraordinary, and his contributions to the field
have been nothing short of groundbreaking.
“James Turrell’s ability to manipulate light and
colour with precision and subtlety is truly inspiring,
and his work serves as a constant source of
fascination and inspiration for me.
“David Spriggs is one contemporary artist whose
work continually leaves me in awe. His mastery
of depth and transparency creates breathtaking
three-dimensional installations that seem to defy
gravity and perception.
“Projection and installation artist, Yann Nguema’s
ability to seamlessly blend intricate visuals with
captivating soundscapes, that transport viewers to
otherworldly realms, is something to behold.
“I also love the work of SpY, with his thought-
provoking urban interventions and playful
subversions of public spaces that challenge viewers
to reconsider their surroundings and question the
status quo. His art installations prompt reflection
on societal norms and expectations, sparking
conversations and engaging communities in
unexpected ways.”
However, while there are many established artists
whose work deserves recognition, Di Stefano
believes it is also equally important to shine a
spotlight on emerging artists and lesser-known
practitioners who are “making waves” in the art
world.
In this regard, there are a few names for which
she reserves special praise: “One such artist who
I believe deserves more recognition is Chantal
Matar, an architect and generative designer
whose work blurs the boundaries between art,
046 / 047
architecture, and technology. Her innovative
approach to spatial design and her use of artificial
intelligence to craft unique and captivating
experiences sets her apart.
“Another emerging artist whose work shows great
promise is Joon Moon, whose mastery of light
and shadow creates enchanting narratives that
linger long after the experience ends. His ability
to fuse technology and art to create immersive
experiences that resonate deeply with viewers is
truly remarkable, and I believe he has the potential
to make a significant impact on the future of
immersive art.
“Additionally, I’m in love with everything created
by Studio McGuire. Their ability to create rich and
captivating narratives that transport audiences to
new worlds is truly inspiring.
“I am always on the lookout for breakthrough
artists who are pushing the boundaries of what
is possible in the space. Whether it’s through
experimental techniques, innovative use of
technology, or thought-provoking storytelling,
these artists are shaping the future of art in
exciting and unexpected ways.”
One of the defining moments of Di Stefano’s career
to date came in 2021, when she was invited to
advise the Ministry of Culture in Saudi Arabia –
giving her the opportunity to collaborate with other
global experts representing a wide array of fields,
from literature and performance to museums and
music.
“Our mission was to craft concepts for future
events and festivals in the region. Being part of
such a massive project not only got my creative
juices flowing, but also broadened my perspective
on the arts.”
This collaboration led her to curating the 2022
edition of Noor Riyadh, the world’s largest light
art festival, and working alongside a whole host
of leading artists – including Christopher Bauder,
Daan Roosegaarde, Yann Kersalé, teamLab, SpY,
Arne Quinze, Grimanesa Amorós, and Pauline
David. A landmark achievement, however looking
back on the event, its scale is not what she is most
proud of.
“Witnessing the moments of connection and
collaboration that blossomed throughout the
festival was immensely rewarding. Observing
artists from diverse backgrounds unite, discover
mutual admiration for each other’s work, and
discuss future collaborations was truly inspiring,”
she recalls. “These interactions not only facilitated
creative exchange, but also forged enduring
connections transcending borders and cultures.
“I am also extremely proud of the impact the
artwork had on the local culture and community.
Seeing how the beautiful artworks resonated with
audiences, bringing profound wonder and joy to
people’s lives, was deeply gratifying. It reaffirmed
the transformative power of art to inspire, uplift,
and unite people across cultural divides.”
Across the events that Di Stefano curates she
primarily looks to commission artists to create
site-specific, bespoke pieces that are tailored to
the narrative and the unique characteristics and
ambience of the venue in question. This, she feels,
 TALKING WITH... DOROTHY DI STEFANO
Arkhe, Nohlab & Decol, Contemporary Istanbul Art Fair, Istanbul, 2019 (Image: Hakan Gündüz)

Axis of Power, David Spriggs, Sharjah Biennial 9, UAE, 2009

TALKING WITH... DOROTHY DI STEFANO
Loops, SpY, Bern, Switzerland, 2023 (Image: RubenP Bescos)
“allows for a deeper integration of the artwork
with the environment, creating a more immersive
and cohesive experience for the audience”.
Commissioning new works also means that the
artists can realise their vision in a way that is
“harmonious with the space and the overall theme
of the event,” she adds.
“While I do occasionally include existing
installations that have appeared elsewhere [such
as Daan Roosegaarde’s Waterlicht at Noor Riyadh],
the majority of the artworks featured in our events
are new commissions. This not only ensures that
each event offers fresh and exciting experiences
for attendees, but also allows us to support and
showcase the creative talents of emerging and
established artists alike.
“When commissioning new works, I prioritise open
communication and collaboration with the artists
to ensure that their vision is preserved, while
also adapting the artwork to the specific site and
context. This often involves conducting site visits,
discussing the unique features and constraints
of the venue, and exploring how the artwork can
interact with its surroundings in meaningful ways.”
This interaction with its surroundings is an integral
part of an installation’s success, Di Stefano feels,
adding that the context and setting of a piece
“significantly influences the way audiences perceive
048 / 049
and interact with the artwork”, as the environment
can profoundly impact the overall experience,
shaping the mood, atmosphere, and emotional
resonance of the piece.
“One of the key aspects of immersive art is the
ability to engage with the surrounding space in a
way that blurs the boundaries between the artwork
and its environment,” she adds. “By considering
the context and setting of the artwork, artists
can create experiences that feel integrated and
harmonious within the space, enhancing the sense
of immersion and presence for the audience.
“Context and setting can also provide layers
of meaning and depth to immersive artworks,
enriching the narrative and expanding the viewer’s
understanding of the piece. Whether situated
in a historic building, a natural landscape, or a
contemporary gallery space, the context of the
artwork can evoke associations, memories, and
emotions that add complexity and resonance to
the overall experience. Setting can also influence
the way audiences perceive time, space, and scale,
allowing for a more dynamic and multi-dimensional
engagement with the artwork. For example,
an outdoor installation may evoke feelings of
expansiveness and connection to nature, while
an intimate indoor setting may create a sense of
closeness and introspection.”
Powered by
www.ligman.com
LIGMAN Lighting Co.,Ltd.
Lador 2 RGBW Projector | Sippy Downs, Queensland, Australia
TALKING WITH... DOROTHY DI STEFANO
With the ever-changing nature of the medium,
from the technical advancements, adoptions of
new methods and concepts, and even the growing
popularity of light art installations and events,
immersive art as a whole is in a near-constant state
of evolution. As part of this evolution, Di Stefano
feels that the medium is moving beyond isolated
visitor experiences, becoming more integrated
into the wider urban environment – a shift that
she believes reflects a growing recognition of the
potential for immersive art to enrich public spaces,
foster community engagement, and contribute to
the cultural identity of cities.
“Traditionally, immersive art has often been
associated with dedicated exhibition spaces,
galleries, or temporary installations that offer
immersive experiences for individual visitors or
small groups. However, there is a growing trend
towards integrating it into the fabric of urban
environments, where it can be experienced by a
broader audience in everyday settings,” she adds.
“One manifestation of this trend is the increasing
use of public spaces such as parks, plazas,
and streetscapes as venues for immersive art
installations and events. By activating under-
utilised or overlooked spaces with artworks,
cities can create vibrant cultural hubs that
attract residents and visitors alike, fostering a
sense of community and civic pride, revitalising
050 / 051
neighbourhoods, and enhancing the urban
experience.”
As for the future of the medium, Di Stefano
believes that there are several emerging trends
that will reshape the landscape of immersive art
and “chart a course for future evolution”.
One such trend that she predicts is the growing
fusion of virtual and physical realms, “erasing
the boundaries between digital and tangible
encounters”.
She continues: “This integration offers a fertile
ground for crafting immersive narratives that
seamlessly blend the real with the virtual, providing
audiences with captivating and deeply engaging
experiences.
“Another notable trend is the surge in interactive
storytelling, where participants actively shape the
narrative and outcomes of their experiences. This
trend reflects a rising demand for personalised
and participatory encounters that foster deeper
engagement and connection with audiences.
“Looking forward, advancements in technology
such as augmented reality, virtual reality, and
mixed reality, are driving innovation in the industry.
These technologies are becoming increasingly
accessible and affordable, democratising
the creation and consumption of immersive
experiences, while pushing the boundaries of
immersion and realism.

“The industry is also poised to further embrace
multi-sensory experiences that engage all five
senses, offering heightened levels of immersion
and impact. This shift will likely catalyse the
development of novel technologies and techniques
to incorporate tactile, olfactory, and gustatory
elements into immersive encounters.
“I’m also expecting to see increased collaboration
and convergence with adjacent creative sectors
such as gaming, film, and live entertainment. This
interdisciplinary exchange of ideas and expertise
promises to spawn a new wave of ambitious
and innovative immersive experiences that push
the boundaries of storytelling and immersion,
offering audiences unparalleled adventures and
discoveries.”
As for any aspiring artists and designers wanting
to enter the brave new world of immersive art and
use light as a medium for artistic expression, Di
Stefano has the following advice:
“Firstly, when delving into this world, it’s crucial
to embark on a journey of experimentation and
exploration. This involves fearlessly exploring
various techniques, materials, and technologies to
uncover your distinct artistic voice.
“Collaboration is pivotal, offering opportunities
to work with fellow artists, technologists, and
experts in related fields. By collaborating, you can
expand your creative horizons, gain new insights,
and embark on ventures that lead to innovative
breakthroughs. Such efforts often yield unexpected
discoveries, enriching your artistic practice and
fostering community.
“Considering the audience experience is
paramount when crafting immersive pieces.
Factors such as space, scale, and interactivity play
crucial roles in creating captivating experiences
that resonate with viewers. By prioritising the
audience’s perspective, artists can cultivate
meaningful connections and evoke powerful
emotional responses through their artwork.
“Embracing advancements in technology, such as
interactive sensors, empowers artists to create
“One of the key aspects of immersive art is
the ability to engage with the surrounding
space in a way that blurs the boundaries
between the artwork and its environment.
By considering the context and setting of
the artwork, artists can create experiences
that feel integrated and harmonious
within the space, enhancing the sense of
immersion and presence for the audience.”
dynamic installations. Technology serves as a tool
for enhancing the impact and versatility of artwork,
offering new avenues for creative expression, and
pushing boundaries of innovation.
“Infusing immersive pieces with narrative elements
adds depth and meaning, inviting viewers to
engage emotionally. Whether exploring personal
themes or addressing social issues, storytelling
enriches the viewer experience and creates
compelling narratives that resonate long after the
encounter.
“Iterating and refining artwork based on feedback
and personal vision is crucial for growth. Remaining
open to feedback, embracing experimentation,
and continued learning are integral aspects of the
artistic journey. Through continuous refinement,
artists can hone their craft and create impactful
artwork.
“And finally, drawing inspiration from diverse
sources fuels creativity and passion. Staying
curious and receptive to new ideas cultivates fertile
ground for artistic expression.”
Reflecting on her own personal journey, which
has seen her become widely regarded as the
leading authority on immersive works of art, and
an internet celebrity in the design world, Di Stefano
remains humble, but is glad that the journey that
she has taken has led her to the position that she
is in.
“From marketing and architectural drafting to
multimedia and audio engineering, I’ve explored a
wide array of fields in the constant search for ‘what
do I want to be when I grow up’,” she concludes.
“Looking back, it’s crazy to think how every little
twist and turn led me here. From my studies to
picking up skills along the way, each step has
played a part in shaping my career in this industry.
And while it definitely hasn’t been smooth sailing, I
wouldn’t change a thing. I’m pretty confident that I
have the best job in the world.”
www.moltenimmersiveart.com
 eye
opener
Kalix Bridge
Kalix, Sweden
In one of Sweden’s northernmost towns,
near the border with Finland, a new bridge
crossing the Kalix River has been completed.
An important link on the E4 highway, the Kalix
Bridge has been illuminated by Sweco, with the
goal of enhancing its architectural construction
with subtle means, while contributing to the
atmosphere of the city and acting as an inviting
gateway to the central town.
Brought on to the project by Swedish Traffic
Authority, Trafikverket, the collaboration of
lighting designers, architects, and engineers at
Sweco has been a key factor in achieving both
the aesthetic and technical requirements of the
project.
052 / 053
A series of arches have been illuminated with
accents of cool light to create a landmark
that draws attention to the magic of the river
landscape, and the historical buildings on its
banks.
“Because it is located so close to the city, there
was great potential in letting the bridge add
to the atmosphere,” says Peter Viklund, Senior
Project Manager at Trafikverket.
Responsible lighting designer Caroline Zima
describes the project as an exciting task, where
the challenge was to highlight an infrastructural
component without disrupting the sensitive
surroundings. “The municipality uses a slogan to
describe Kalix as a place ‘where the river meets
the sea’, which shows how strongly the city
identifies with the river. It gave us an indication
of the importance of a lighting scheme that
would let the magical qualities of the water
landscape emerge at night,” she says.
Well-balanced light levels and shielded fixtures
that reduce light pollution and stray light
have been an important part of the ecological
considerations. Socially, illuminating the bridge
has led to an increased sense of security and
wellbeing. Pedestrian and bicycle paths are
connected from the main route to nearby areas
for better mobility and integration between
neighbourhoods.
Viklund emphasises the high aesthetic ambitions
for the Kalix Bridge and how they were met
by the dedicated team at Sweco: “I will never
forget the freezing night when we fine-tuned the
luminaires and adjusted the brightness of the
lighting. We had a team on-site and one person
in Stockholm. It really made a big difference to
the result. You can achieve fantastic effects when
working with light in the right way.”
www.sweco.se
Image: Måns Berg
Islamic Arts Biennale
Jeddah, Saudi Arabia

Steeped in the cultral tapestry

of Saudi Arabia’s heritage,
the Islamic Arts Biennale is a
harmonious blend of old and
new. We speak to GLARE, the
lighting designers behind
the multiple award-winning
project, to learn more about
the lighting concept.

054 / 055
MUSEUM & CULTURAL LIGHTING
MUSEUM & CULTURAL LIGHTING ISLAMIC ARTS BIENNALE
n airport isn’t typically somewhere you
A would expect to find an art gallery, but
nestled within the illustrious Western Hajj
Terminal at King Abdulaziz International Airport – a
stunning architectural creation by SOM in 1981 –
lies the Islamic Arts Biennale. Steeped in the cultural
tapestry of Saudi Arabia’s heritage, the site, opened
in 2023, looks to combine history and modernity to
tell a captivating tale of past, present, and future.
Designed by Italian studio Gioforma Architects, with
lighting design from GLARE, the project has been
recognised throughout the design world, picking
up a number of awards, including the Structures
High category at this year’s [d]arc awards.
With such a significant cultural heritage attached
to the site, Camila Blanco, Creative Director at
GLARE, explains to arc why this was more than your
average gallery lighting project.
“The Hajj Terminal at the King Abdulaziz Airport is
not an ordinary airport terminal; it is well known
because of its tent structures, designed to house
the influx of religious pilgrims that stream into KSA
as part of the annual Hajj pilgrimage to Makkah.
The terminal was not designed to be a religious
space, but is rather a space that evokes the spirit of
the Hajj.
056 / 057
“The Islamic Biennale serves as a centre of
excellence for fostering cultural dialogues and for
presenting and disseminating ideas and practices
in the contemporary arts world. The design itself
is dynamically inserted into and beyond the vast
tent structures through refined continuity, depth,
and visual composition. Interconnected multi-
level spaces effortlessly flow into one-another, all
of which are conceived as intriguing and integral
elements of the biennale experience.
“The internal spaces are immersed in a feeling
of grounding serenity; the ideal blank spaces in
which art can express itself without the limits of
the external world. Material versatility, framed
views, apertures and doorways foster moments
of discovery and surprise as visitors encounter
artworks in a narrative that moves beyond the
boundaries of architecture. Our approach was to
create a language that could pay respect to history,
while welcoming the new architecture, creating a
seamless integration in time.”
In order to achieve this goal, the lighting designers
were provided with a comprehensive design brief
by the architect, complete with renders and visuals,
which were “instrumental” in getting the project’s
envisioned aesthetic and mood, as well as showing
how significant a role that lighting can play.
“The architects emphasised a minimalist and
understated approach, with a strong emphasis
on seamlessly integrating lighting into the
architecture,” GLARE says. “They expressed a
desire for concealed light sources to accentuate
the building’s textures and facilitate a harmonious
transition between indoor and outdoor spaces.
Collaborating closely, we designed custom
solutions to discretely incorporate lighting
elements, ensuring they organically complemented
the overall architectural vision.
“In addition to the aesthetic considerations, the
client provided clear directives regarding the
lighting requirements for the exhibition spaces,
which were the focal point of the project. So, we
had to deliver a versatile and efficient lighting
solution, both indoors and outdoors, ensuring
adaptability and functionality within these spaces.”
Central to the lighting design concept was the
“delicate dance” between honouring tradition and
embracing innovation. To do this, GLARE’s lighting
design unfolds through three defining elements –
Ethereal, Breathable, and Reflective.
GLARE explains further: “Ethereal is an intangible,
airy, and subtle sense of the light, as the space
would be heavenly lit. This was characterised
by seamless lighting details spread to highlight
the architecture, such as shadow gaps, coves,
and trimless fittings that would subtly unveil
the buildings, while drawing the eye with a
mesmerising allure. Breathable, as spaces
effortlessly blended indoors and out, transcending
conventional boundaries; Reflective was the word
we used to describe how the modern Mashrabiya
alight from within, bestowing a floating grace upon
the water plaza.”
To realise a lighting concept that would honour
both the tradition and modernity of the space,
GLARE strategically used three distinct types
 1:1 scale C1-micro-LC spotlight attached to a low voltage magnetic track

Modular Pole-Spotlight C1-micro-VL with independently dimmable heads All edges closed 12V magnetic track Cube using three-axis Y-connector

Founder and head designer of corporate friends®, Jan Eickhoff, says

about the company: WORK WITH FRIENDS
“The year 2010 marked the beginning of our incredible journey. When
I was searching for museum showcase lighting for one of my wife‘s pro-
jects, we found that nothing available met our expectations. „I just have
to do it my way,“ I said to myself, and I got to work. After extensive
research and experimentation, I created something new – a small, tech-
nically and aesthetically advanced spotlight that is a joy to work with.
More projects followed, and soon the idea arose: „Why not turn this into
a business?“

In 2011, I founded the company and began fully dedicating myself to

developing our own lighting system for museum display cases. Today,
with our entire team, we take pride in knowing that our products help
preserve cultural heritage in top museums around the world, and we‘re
grateful for every moment of this adventurous journey.”
corporate friends®
MUSEUM & CULTURAL LIGHTING ISLAMIC ARTS BIENNALE
of lighting tailored to specific needs; functional
lighting serves practical purposes, such as daily
activities and exhibition setup, both indoors and
outdoors. Architectural lighting was utilised to
enhance building features, using techniques like
cove lighting and downlighting. “In exhibition
spaces, we implemented grazing wall lighting
effects and focal point highlighting to accentuate
artworks,” GLARE adds.
“Exhibition lighting was meticulously designed
to illuminate artworks in galleries with different
ceiling configurations, ensuring flexibility to
accommodate varying exhibition setups. Indoors,
exhibition galleries featured suspended fixtures for
high ceilings and recessed tracks for low ceilings.
We also enhanced the ambience with decorative
chandeliers and other unique pieces, crafting
distinctive focal points throughout the space.”
With the venue destined to host both annual and
biannual art exhibitions, GLARE conceived of an
adaptable indoor lighting system that empowers
future exhibition designers with track systems and
metal meshes for optimal light placement. Doing
so meant that the team had to take a step back
and show some humility.
“Lighting serves as a medium of communication
between art and observer, providing ideal canvases
for artwork to shine without overpowering it. To
meet the diverse needs of hosting art exhibitions,
we implemented a versatile lighting scheme
tailored to adapt to various activities.
“We integrated metal grid ceilings as a prominent
feature, serving a dual purpose of concealing
structural and mechanical elements while hosting
diffused lighting fixtures. This general layer of light
ensures optimal illumination for artwork setup,
maintenance, and other activities requiring higher
lighting levels.
058 / 059
“For exhibition spaces, we used kinetic lighting
tracks and bars specifically designed to showcase
artworks. Utilising spotlights with exchangeable
lenses facilitated effortless adjustment of light
distributions to suit different exhibits. Precisely
dimmed spotlights met both scenographic and
conservation requirements, offering a flexible
infrastructure. Additionally, a variety of beam
angles provided versatility for accent lighting and
floodlighting.
“Wallwashers were then strategically installed
in exhibition galleries to achieve a uniform
distribution of light across both vertical and
horizontal planes. This enhancement significantly
enhances the perception of the exhibition space,
contributing to its overall ambience and appeal.
“By implementing these layers of light, we
ensured the venue not only meets, but exceeds
the demands of hosting diverse art exhibitions,
transforming it into a dynamic cultural hub capable
of showcasing paintings, sculptures, performing
arts, and more, with sophistication and flexibility.”
Elsewhere, outdoor lighting was designed to
highlight architectural features and create a
distinctive night-time ambience. To do this, GLARE
employed various layers of light to guide visitors
and enhance visibility, while functional lighting was
integrated for service areas and parking lots, striking
a balance between functionality and aesthetics.
“We incorporated outdoor floor-recessed fixtures,
strategically positioned to graze from the bottom
to the top of the building, providing a glare-
free illumination with a soft, inviting warmth.
Furthermore, we utilised poles and bollards to
accentuate specific elements of the landscape.”
Concealed façade lighting artfully minimises
light pollution, preserving the night sky, while
accentuating the architectural grandeur of the
building. The adjacent water plaza serves as a
“serene companion” to the architecture, creating
enchanting reflections across its surface and
helping to transform the plaza into a natural
gathering haven. GLARE explains how the lighting
helps in facilitating this captivating atmosphere:
“The water plaza outside was a key consideration
from the outset of our design process. The entire
design team shared a vision for the plaza to serve as
a reflective surface, enhancing the overall aesthetic
by beautifully mirroring the building and its lighting.
“Achieving this effect was a point of pride for us,
and we take great joy in witnessing the interplay
of light and water. We were aware of the distance
between the water and the buildings, which
meant we wouldn’t achieve the caustic effect on
the façades. Despite this, the reflective qualities of
the water still contribute significantly to the visual
appeal of the space, adding depth and dimension
to the overall experience.”
The lighting designers also opted for warmer
colour temperatures of lighting; considering the
material finishes and the desired atmosphere,
these were preferred outdoors to create inviting
spaces while complementing the architecture.
One of the primary objectives for GLARE came in
seamlessly integrating various surfaces – concrete,
glass, and the intricate Arabic Mashrabiya – into
MUSEUM & CULTURAL LIGHTING ISLAMIC ARTS BIENNALE
060 / 061

a “unified, visually enchanting tapestry”; each
element illuminated, each detail meticulously
brought to life.
“Our philosophy centred on the idea of interplay,
where lighting and architecture intertwine like
a mesh or tapestry,” GLARE says. “From the very
beginning, the design team envisioned the lighting
as an integral part of the architectural concept.
Just as the clusters rise from the sand, our lighting
effects were designed to harmonise with the
architectural elements, enhancing their beauty and
creating a sense of cohesion throughout the space.
From subtle uplighting effects on the façades, to
carefully designed galleries, ensuring that every
aspect of the project worked in concert to create a
unified visual experience.”
Within this delicate interplay came the balancing
act of merging the new, modern architecture with
the historic pilgrim tents. To effectively do this, the
designers aimed for the building’s illumination to
serve as a “subtle backdrop”, rather than imposing
its presence on the surrounding environment: “To
achieve this, we opted for minimal and understated
lighting, with static fixtures, with warm colour
temperature, mostly recessed in the ground
or custom-made coves, prioritising clarity and
providing ample space for the exhibition, which
held primary importance within the space.”
A defining factor in this fusion of new and old came
in the modern Marshabiya – itself something of
a contradiction, GLARE believes that this feature
serves as a “connection element between antiquity
and modernity.
“The Mashrabiya is easily recognisable to visitors
and aids in the seamless transition between the
two. In our approach, we leveraged lighting effects
to accentuate the beauty of the Mashrabiya,
creating captivating shadows and patterns that
are projected onto the floor and contribute to the
reflection of clusters on the main water plaza.
“Some elements were illuminated perpendicularly
to highlight their intricate patterns, while others
were gently washed with light to emphasise their
overall presence and significance within the space.
By employing these techniques, we ensured
that the modern Mashrabiya not only serves as
a design feature but also as a symbol of cultural
continuity and innovation.”
The project was, of course, not without its
challenges – scope, longevity, calculations, etc
– but for GLARE, time was the biggest enemy.
MUSEUM & CULTURAL LIGHTING ISLAMIC ARTS BIENNALE
“Undoubtedly, working on a Design & Build
project presented numerous challenges, with
time constraints being one of the most significant
hurdles. We had a mere four months to navigate
the entire design process, from conceptualisation
to detailing.
“However, the strength of our company lies in the
cohesion of our design team. Despite geographical
barriers, with team members stationed in both
Italy and the UAE, our collective dedication and
tireless efforts ensured we met the deadline
with excellence. We leveraged our international
presence to our advantage, enabling close
collaboration with stakeholders and facilitating
effective communication throughout the project.
This collaborative approach and unwavering
commitment were instrumental in overcoming
the challenges we encountered, ensuring the
successful realisation of our vision for the project.”
To that end, the team at GLARE can look back on
the project with a great deal of pride, not least
because of the accolades that the project has
garnered since its opening last year.
Reflecting on the project’s culmination, GLARE
says: “Witnessing the completion of the project and
seeing our lighting design come to life evokes a
truly magical feeling for us. It is incredibly rewarding
to see the space teeming with visitors who are
enjoying and appreciating what we’ve created.
“In terms of the lighting design itself, we’re
delighted with the outcome. The lighting design
serves as a component of the space, seamlessly
integrated with the architecture to enhance the
overall visitor experience. Outdoors, the lighting
fulfils a crucial role in connecting the various
clusters, guiding visitors along their journey
through the space. As visitors move between
the pavilions, they embark on an emotional
pathway, each step revealing the beauty of a new
building, illuminated by distinct lighting layers.
This deliberate interplay between architecture and
Client: Diriyah Biennale Foundation
lighting elevates the ambiance, fostering a sense
/ Ministry of Culture
of wonder and discovery that enriches the visitor Lighting Design: GLARE, UAE
experience and leaves a lasting impression.” Architect: Gioforma Architects, Italy
www.glare.lighting Exhibition & Landscape Design:
OMA, Netherlands
Lighting Specified: Erco, Flos,
iGuzzini, Ideolux, Linea Light,
Radiant Architectural Lighting
Photography: Diriyah Biennale
Foundation, Abdullah Alkarimi,
Gioforma, Marilyn Clark, Fabrizio
Floreani
 MUSEUM & CULTURAL LIGHTING

062 / 063
Leighton House
London, UK

The home of eminent

Victorian painter Frederic,
Lord Leighton has been
converted into a museum,
combining the traditional,
1800s home with a modern
intervention. The design was
led by BDP, which worked
to balance old and new
elements in harmony.
 eighton House Museum is a Grade II*
L
listed building with an internationally
significant collection, located within
London’s Holland Park Circle. Purpose-built in
1865 for eminent Victorian painter, Frederic,
Lord Leighton, the property has, over its 150-
year history, evolved and expanded. While earlier
phases were directed by Lord Leighton himself,
several less satisfactory interventions were built
after his death, and during the period in which the
house transitioned from private home to public
museum.
The most recent intervention, completed in
2022, looks to celebrate the building’s origins
as Lord Leighton’s house, while also creating an
inclusive and enjoyable visitor experience, with a
new entrance and reception, new staff suite, and
restored Winter Studio.
BDP had been working with the museum for a
number of years, from an architectural perspective,
on heritage approvals when the opportunity to
design the lighting for the latest renovations arose.
After a competitive tender, BDP’s lighting design
team got involved in the project, and developed
a concept for both the house and exhibition that
would preserve the special atmosphere of Lord
Leighton’s Victorian house, while providing state-of-
the-art facilities, scaled to its domestic setting and
integrated wherever possible.
064 / 065
Speaking to arc, Colin Ball, Lighting Director at
BDP, explained the challenges that came with
integrating the exhibition space into the existing
house, while preserving the original atmosphere of
the space: “This may be a museum, but it is also a
preserved residence. The new facilities were to be
no different in quality than the Royal Academy or
V&A, but were to retain a degree of domestic scale.
“Working with a very accomplished exhibition
designer, Charles Marsden-Smedley, we could work
very closely with an expert that really understood
light. Each exhibition piece was negotiated whether
the lighting would be integrated within a case or
within the room environment. We even agreed
finishes of some of the commissioned artworks.”
Throughout, the project selectively removes,
reinvents and extends the less significant areas
in order to celebrate and safeguard the original
house. In doing so, BDP has restored the house
and garden, and provided the facilities and spaces
to create a coherent, inclusive, and enjoyable
visitor experience, consolidating the museum as an
amenity for the local community and beyond.
In addition to extensive building fabric
conservation and restoration works, BDP’s design
incorporates new elements that take their cue from
the existing, reinterpreting the language of the
house through materials, form, and colour.
These include a new entrance and reception space
in the Perrin Wing, with new visual and physical
connections to the original house and garden; a
new staff suite has also been created within the
volume of the upper gallery space. Leighton’s
Winter Studio has been restored, and the space
beneath recovered as the De Morgan Café. The
existing basement has been extended to provide
visitor facilities, display and interpretation space,
an archive store, and a gallery to display Leighton’s
extensive drawing collection.
“The Winter Studio is restored to how Lord
Leighton would have used it,” Ball adds. “Also, the
under croft of this studio was to be revealed in the
café areas, as previously this was all back of house
storage and plant space. During construction, the
discovery of original 19th century glass flooring
down to the basement also required lighting
around it in a sensitive manner.
“The Upper Gallery includes a simulated daylight
cove where the new floor was added to the double
height space. Where daylight has been lost we
have maintained the effect through simulation.
Currently for this exhibition area, a dark shadow
wall finish was selected to highlight the colour of
the gold frames.”
Just as the artist did when he lived in the residence,
BDP looked to harness as much of the natural
north daylight as possible. The new exhibition
facilities are integrated with the house so that
the viewer’s eyes can comfortably adjust from
one room to the other, resulting in a greater
transparency between the old and new spaces.
Galleries with a maximum of 50lx did not require
darkening of the approaching corridors, as eyes
had already adjusted to the lux level.
BDP advised on daylight, addressing any issues
of glare, as well as the effects of exposure on
MUSEUM & CULTURAL LIGHTING LEIGHTON HOUSE
MUSEUM & CULTURAL LIGHTING LEIGHTON HOUSE
the artefacts, working closely with the exhibition
design team to advise on appropriate locations for
sensitive objects. A space saving innovation sets
the visitors’ arrival directly into the display area
from the front door. Daylight and sunlight were
modelled so that artefacts could be positioned at
the entrance without high levels of exposure.
Ball further explains how the new lighting marries
with the natural daylighting: “We’re used to working
with galleries with 50lx maximum objects, one of
the first statements on the project is that you do
not need to ‘blackbox’ such a space. You can allow
daylight to feed into the space, as long as you know
how much and precisely where it’s directed.
“The other key factor is that you are able to
influence the transition spaces prior to entering
the gallery. This is plural with intention. Tunnel
effect, or ‘snow blindness’ can result from harsh
transitions between spaces; if you can comfortably
adjust the occupants’ eyes through a period of
at least three minutes, they can enter a low light
environment with their eyes pre-adjusted.
“It is not by accident that the statue at the base
of the spiral stairs is matte white, nor that the
exhibition case is immediately in front of you in
a dark wood environment with no accents. You
turn to the right and the 50lx environment already
appears bright.”
066 / 067
Another new addition to the space, the stair and
lift ‘rotunda’ complete the evolution and expansion
of the house, connects all levels, and balances the
composition of the garden elevation. The lighting
to the spiral stair imperceptibly aids the transition
from daylight to basement – it is also used for
emergency lighting, eliminating the need for any
additional fittings on the ceiling. To Ball’s point,
the matte white statue at the foot of the stairs was
a recommendation from BDP, acting as a diffuse
reflector to meet the viewer as they arrive below
ground. Mock-ups were posed to ensure correct
shadowing to the sculpture, particularly the faces
of both athlete and snake.
Ball continues: “The lighting does not work in
isolation of the exhibition placement and the
room finishes. The integrated handrail keeping
the attention downward but with clarity for safety
provides the majority of the transition, also
influencing the dark floor finish here helps.
Once downstairs, the basement gallery includes
a backlit ceiling for future options to display
bronze sculptures, and integrated spotlights for
sharp accenting. This is dimmed down to expose
Leighton’s original paper drawings.
“We originally had a real skylight for this area,
which was budget restricted,” Ball says. “The room
was to have full flexibility, so the idea of a glazed
 E

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MUSEUM & CULTURAL LIGHTING LEIGHTON HOUSE
Client: Royal Borough of
Kensington & Chelsea
Lighting Design: Colin Ball,
Delfina Barbato; BDP, UK
Architect: BDP, UK
Exhibition Design: Charles
Marsden-Smedley, UK
Lighting Specified: Aktiva,
Artemide, Bega, Deltalight, Eaton,
Erco, Flos, iGuzzini, LED Linear,
Linea Light, Mackwell, Prolicht,
Tryka, Viabizzuno, Zumtobel
Photography: Nick Caville,
Dirk Lindner
068 / 069
ceiling enabling the space to be an ‘external’ winter
garden flooded with light for sculptures was to be
an option, as well as a dark space with sensitive
works and a maximum of 50lx within.
“Surprisingly, the whole ceiling illuminated at 1%
only provides 1lx direct to the artworks. We used it
on or off depending on the nature of the works –
so far, the room has been painted white and black
for the De Morgan Gold works. We haven’t used
the space in its ‘exterior’ mode yet.”
Given the very nature of the building, the project
is a remarkable blend of old and new, with the
modern additions to the museum space sitting
in harmony alongside the original architecture.
Ball explains how the lighting helps to fuse the
contrasting elements together into one unified
scheme: “Discrete details and a unified bronze
finish are the key parts. We also avoided any
large ‘systems’ for lighting. Each of the rooms
were unique, so we treated them individually. Our
luminaire schedule was as long and complex as it
would be for any museum, we just used very small
quantities of each type – the lighting had to be
discrete in all areas.”
Given the museum’s location at the centre of a
residential conservation area, all external lighting
was kept to an absolute minimum. Each accent
was carefully placed for legibility and clarity to
the entrance, without any spill light impacting the
surroundings.
Despite the project’s atypical location, Ball feels
that the local conservation area status “fits in well”
with the brief to maintain a domestic scale. He
continues: “In this part of London, it is rare for
residences to be brightly lit up as they generally fall
into historic areas or wider estates with additional
restrictions. As such, localised lights around
entrances and gateways tend to be the limits.
Low glare integrated landscape lighting however,
enabled us to deliver public-grade accessibility
without glaring the neighbours.”
Bringing the project to life came through the
hard work and close collaboration between BDP
and the contractor – the former conscientiously
providing samples and prototypes in full operation
was an “essential part” to getting the final lamps
and optics, precisely as calculated, into the final
scheme.
Looking back, Ball recalls a personal highlight
from the project: “Of particular joy for me
personally is the accenting into the concave wall
art of the spiral stairs, the stunning calligraphy of
Shahrzad Ghaffari. I knew the tiny vertical detail
would work from my experience working inside
classical architecture, an effect that Dialux models
cannot show you. No one quite believed me, so
it was a relief to see it work even better than I’d
anticipated.”
As for the museum as a whole, he concludes that
the lighting plays an integral role in the wider
ambience of the space, in that special, intangible
way that good lighting design can.
“The museum feels light and airy, for want of
a better term,” he says. “Your eyes move from
exhibition, daylight gardens, to museum displays,
without you noticing how different the lighting is.
“A successful scheme for us is one where the
visitors don’t ‘see the light’, they just enjoy what
they are looking at.”
www.bdp.com
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Das gute Licht.

Argo Contemporary
Art Museum &
Cultural Centre
Tehran, Iran

After standing abandoned

for 40 years, Tehran’s
infamous Argo Brewery has
been transformed into a
museum for contemporary
art by The Seed.

070 / 071
MUSEUM & CULTURAL LIGHTING
MUSEUM & CULTURAL LIGHTING ARGO CONTEMPORARY ART MUSEUM & CULTURAL CENTRE
n the heart of Iran’s capital, you will find
I The Argo Factory. It is not hard to miss,
at least not in its fully illuminated form, as
its concrete roof floats above the neighbourhood
buildings. The launch of the new gallery in Tehran
is a monumental moment for Iran’s culture and
creative community. Its opening in 2020 marked
the first art museum in the capital since the
revolution in 1979, which saw the destruction of
many artistic hubs and spaces.
Located in the city’s downtown district, in a
1700sqm industrial building that was formally a
bustling beer factory, producing the beloved Argo
beer, now the 100-year-old building has been
reborn as a contemporary art museum welcoming
a new generation of artists and inspiration.
The Pejman Foundation entrusted the conversion
of the factory to Ahmadreza Schricker Architecture
North, a New York-based design studio, to house
its art collection and attract more cultural activity
due to its central location. ASA North’s goal was
to breathe new life and identity into the building,
opposed to completely preserving it, by creating
a blend between old and contemporary elements.
072 / 073
This transformation involved inserting a new
foundation and metal structure to support floating
concrete floors that were independent of the
former structure and extended the ceiling height.
In conjunction, five concrete roofs were added to
the building, each were illuminated from below
to create an illusion of the roof hovering over the
old building. Inside, the building comprises of
six galleries, an event space, a library, office, gift
shop, a studio for the museum’s artist residency
programme and a non-alcoholic bar as an homage
to its former life as a brewery.
Golsana Heshmati, lighting designer and
founder of The Seed Lighting, became involved
in the project in a way that almost seems
predestined. Having always dreamed of working
on a monumental project in her hometown,
Heshmati was thrilled when she learned about
the construction of the Argo Art Museum. This
project was ideal for her to utilise her specialisation
in museum and gallery lighting; her skills,
combined with her deep understanding of the
local demographic, positioned her as a valuable
contributor to the whole project.
Heshmati received an initial design brief from the
client and architect specifying the project’s design
purpose within the city’s context while noting the
sociopolitical challenges they were to face, such as
increasing costs of construction material and strict
sanctions on any European and American items.
In short, the main goal was to create something
impactful and sustainable while on a budget.
The museum has a dedicated commitment
to environmental stewardship, and this was a
quintessential factor in the lighting scheme. This
was achieved by using high-efficiency LED lighting
and a smart controls system - this system ensures
that lighting is tailored to the specific needs of
the space and automatically adjusts based on the
museum’s operations schedule. Consequently, this
resulted in impressive energy savings and significant
reduction in the building’s carbon footprint.
The overall lighting concept was designed to align
with the architecture, to seamlessly blend the old
and the new elements while injecting an inviting
and inclusive atmosphere to this once desolate
space. Bringing these concepts to life came through
the success of The Seed and ASA North’s close
collaboration. The architect had a clear vision of the
museum’s look and feel shown through schematic
rendering, allowing the lighting team to refine its
concept, and ensure it functioned in complete
harmony with the architectural design intent.
Heshmati says: “We strategically placed lighting to
emphasise the building’s unique features, allowing
it to “breathe” and glow from within. This not
only highlighted the architectural details but also
created a warm, welcoming presence that invites
the community into the space.”
In keeping with the old, the existing brick walls
remained in the original Flemish bond pattern and
exposed internally – to accentuate the texture, the
walls are illuminated with a soft, warm layer of light.
Similarly in the courtyard, illuminated arched brick
walls create depth and draw the visitor’s eye from
the central courtyard.
 MUSEUM & CULTURAL LIGHTING ARGO CONTEMPORARY ART MUSEUM & CULTURAL CENTRE

074 / 075
“Designing the lighting with respect to the
original fabric of the building was a significant
challenge,” says Heshmati. “But we managed to
minimise disturbances. The design team’s careful
attention to detail in both preserving the old and
integrating the new allowed us to implement
our lighting concepts effectively. Most of the
work to accommodate our design was handled
skilfully by the builders, which made it possible to
place lighting fixtures without compromising the
building’s conservation needs.”
A pool of light fills the volume of the double height
entry space, illuminating the curved concrete
staircase - one of the more modern elements
added to contrast the original architecture -
positioned to lead visitors from the lobby to the
skylit galleries on the second floor. In the galleries,
recessed linear tracks are placed between the
ceiling’s original arched structure, providing
flexibility for the art exhibitions.
Heshmati explains: “Creating a flexible lighting
design was crucial for our project. The gallery’s
double height makes it one of the few spaces
in Tehran capable of displaying large-scale
art pieces and sculptures. We focused on
ensuring that the lighting could adapt to various
exhibitions, enhancing both the artwork and visitor
experience.”
A bonus feature to the sustainability initiative in the
concept was how the design team utilised daylight
to reduce the requirements for electric lighting.
However, this utilisation of sunlight also allowed
the design to create “luminous voids” to invite an
interplay between lighting and shadow into the
space.
“The concept of ‘luminous voids’ in the second-
floor galleries plays a crucial role in enhancing the
space’s dramatic ambience through the interplay
of light and shadow. During the day, the ribbed
and pitched roof structures allow sunlight to
pour into the building. The asymmetric design
of the skylights deepens the dramatic effect by
creating varied intensities and patterns of light and
shadow, enhancing the visual depth and texture
of the space. In the evening, the upper glass of
the skylights is illuminated to emulate daylight,
preserving the effect of streaming light through
the skylight openings.”
The pièce de resistance of the entire project is
undoubtedly the floating concrete roofs. The
design mirrors the neighbourhood skyline by
tapping into traditional local metal roofs. The five
new striated, pitched roof structures function
as deep, insulating skylights, signalling the
building’s revival—a symbolic “tip of the hat”. The
architectural gaps within the building, including the
space between the roof and the pre-existing walls,
also act as symbolic sign of respect to the original
structure.
Not only is this project remarkable by its design,
but it also holds great cultural implications on the
wider community who have been living alongside
the derelict building for 40 years. Before the
project, the architectural team had discovered
the neighbours used the site to throw waste from
their windows, or stole parts from its structure
for their own buildings. Now in its finished glory,
the museum is a cultural gem to Tehran and a
profound influence on a new regeneration in the
area.
“Tehran is experiencing a cultural renaissance
with old buildings being transformed into lively
galleries and coffee shops; the museum serves as
a focal point for a new generation of artists and
art enthusiasts,” explains Heshmati. “Recognising
this, we conducted thorough research to ensure
our lighting design not only met the technical
needs of the space, but also resonated with the
local cultural aesthetics, such as appropriate colour
temperatures.”
Argo Factory’s transformation has been the
comeback story of a lifetime. For decades, this
building was a blight on the neighbourhood and
was no more than dumpster. Today the museum
stands as one of the main cultural hubs of the city
and an attractor for international visitors, it has
also been cited as a catalyst for the renovation of
neighbouring buildings, thus fostering a cultural
revitalisation in downtown Tehran. In other words,
Argo Factory has become a literal glowing beacon
for change and optimism. For Heshmati, this has
been a dream realised, her dedication to her work
and hometown has been forever immortalised into
its walls for the entire world to see.
Reflecting on the project Heshmati stated:
“Receiving recognition for our work on this project
is both humbling and significant, especially
considering the challenges we faced during its
completion. The international accolades not only
validate our efforts but also highlight the vibrant,
open-minded young generation in Iran. This
recognition is incredibly rewarding for us.”
www.theseed.lighting
Client: The Pejman Foundation
Lighting Design: Golsana Heshmati,
The Seed, USA
Architect: Ahamdreza Schricker,
ASA North
Developer: Vandad Development
Electrical Engineer: Aydin Ashfar
Lighting Specified: Fenos Lighting
Photography: DEED Studio
Gabrielle Chanel.
Fashion Manifesto
London, UK

After touring around the

world, last year, the Gabrielle
Chanel. Fashion Manifesto
exhibition arrived in the UK,
taking residence at London’s
V&A Museum. Lighting for
the exhibition was designed
by StudioZNA.

076 / 077
MUSEUM & CULTURAL LIGHTING
MUSEUM & CULTURAL LIGHTING GABRIELLE CHANEL. FASHION MANIFESTO
abrielle “Coco” Chanel revolutionised
G women’s fashion with her pioneering
approach to femininity, comfort, and
luxury. Guided by her own taste, Chanel’s designs
epitomised high-end fashion, creating iconic pieces
that remain timeless today. Her signature styles,
such as the “Little Black Dress”, tweed suits, pearl
costume jewellery, and the legendary Chanel No. 5
perfume, are instantly recognisable to even those
not in tune with the fashion world.
In 2023, the famous exhibition in honour of
the French couturière, Gabrielle Chanel. Fashion
Manifesto, finally arrived in the UK. Originally
premiered in Paris 2020, before travelling to Tokyo
and Melbourne, its fourth iteration was at the V&A
in London. The exhibition ran from September
2023 to March 2024 and charted the establishment
of House of Chanel, featuring more than 200 looks
by the French couturière to display the evolution of
her iconic design style that continues to influence
the fashion world today.
078 / 079
The exhibition was housed in the newly bespoke
Sainsbury Gallery, one of the UK’s largest gallery
halls, spanning 1,100sqm of column-free space
designed by architect Amanda Levete of AL_A.
The exhibition designers, Storey Studio, split the
exhibition into 10 thematic sections, which explored
Chanel’s innovative approach to fabric, silhouette,
and construction. The individual spaces were set up
to transport the visitors to places Chanel frequently
visited, from La Pausa Villa on the Côte d’Azur to
the iconic staircase at Rue Cambon, the location
of Chanel’s boutique and haute couture salons, as
well as her own apartment – like chapters from a
biography of her life. A tonal palette was utilised
to embody Chanel’s love of opulence, using beige,
gold, black and shifts in surface texture to reflect
her creative approach to materiality.
To ensure the exhibition flowed seamlessly and
highlighted its intricate details, a sophisticated
lighting design was implemented to transport the
visitors through the thematic chapters. Studio ZNA
was invited onto the project by both the V&A and
Storey Studio.
Zerlina Hughes, Creative Director of Studio ZNA
says: “We have worked with the V&A for more than
15 years, while we have collaborated twice already
with Storey Studio - on the Kimono: From Kyoto to
Catwalk exhibition in 2020 at the V&A, and on a
retail project for the Asprey flagship in London.”
Despite being in its fourth iteration, the London
exhibition was not to be dictated by any pre-
existing styles from the previous show.
Instead, the new design was to respectfully
reference previous iterations while reimagining
every aspect, whether it be the exhibition, graphics,
AV or lighting, they were to be redesigned for
purpose.
The brief from the curational team at the V&A
was provided for both the lighting designers and
exhibition designers, asking for a beautiful display
that would give narrative support to the thematic
drivers of the exhibition and seamlessly transport
visitors through Chanel’s life while presenting a
cohesive vision.
Studio ZNA was tasked with creating this seamless
blend while ensuring accurate lighting for 200
mannequins, 150 objects including photographs,
illustrations, jewellery, accessories, and perfume.
“The challenge to all creative parties was how
to display the 200 mannequins the exhibition
contained at the low light levels required for
conservation, while making the most of the
beautiful detail and colour of the garments
themselves” says Hughes. “Additionally, some of the
clothes were relatively understated, even modest in
their designs, and they needed to contribute to the
overall ‘magical and transporting experience’.”
MUSEUM & CULTURAL LIGHTING GABRIELLE CHANEL. FASHION MANIFESTO
A significant task for Hughes’ team involved
collaborating with the exhibition designers to
ensure the scenography presented a cohesive
vision. By following Storey Studio’s approach,
Studio ZNA proposed that visitors experience
the pieces under subtly shifting lighting qualities,
providing the feeling of moving through the section
from morning to night in both internal and external
contexts, spanning rural and urban locations.
Despite the lighting changing in accordance
with each section, there is also a unifying thread
in terms of tonalities and materials, which is
maintained, reflecting the Chanel branding tones
of blacks and ivories to natural silvers and golds, all
in a brushed, satin-like finish.
Hughes expands: “Our overall concept was
to consider the objects as the primary focus
and to work carefully with the low light levels
permitted, modulating the luminous scenography
surrounding the works. The designers wanted
to show various thematic chapters in the course
of the exhibition by suggesting locations, both
internal and external, while also depicting seasons,
from Paris in spring to the highlands in autumn
and from a busy street to a candlelit interior,
culminating in a fashion show presentation,
using original footage, sited in Gabrielle Chanel’s
boutique and haute couture salons in Rue
Cambon.”
To bring these concepts to life, Studio ZNA
developed an approach where there is always a
luminous background, given the objects could
080 / 081
only have 50lx of direct light for conservation
reasons. Objects were mostly illuminated at 3000k
temperature, except from embellishments such as
pearls, which were highlighted in 4000k.
“We wanted people to read an elevated 3D-ness
with each object by creating a luminous
environment for it, with backdrops in the form
of lit horizons or dynamic window backgrounds.
Working closely with the designers on the use of
specular materials that would reflect light very
softly within the luminous backdrops, we were
able to use different tonalities that suggested the
location – exterior or interior, for example”, explains
Hughes.
Each object typology demanded a bespoke
treatment. For jewellery, the lighting design could
be rich and dynamic, using up to 200lx, as long as
no organic matter was in the display. Illustrations
and photographs were kept clean, monochromatic,
and elegant – much like Chanel’s own branding.
Meanwhile, the double-height vitrine showcase,
where Chanel’s classic evolutions are displayed,
such as her lightweight tweed suits and tailoring,
are lined in white fabric while the lighting adds a
dynamic luminosity, highlighting them as individual
stars of the show.
The lighting fixtures selected for the display cases
had the highest colour rendering at 95+ CRI,
employing both very narrow and wider lenses,
depending on the condition of the object or
complexity of the finish, alongside flicker-free
drivers to ensure quality film potential.
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MUSEUM & CULTURAL LIGHTING GABRIELLE CHANEL. FASHION MANIFESTO
Client: V&A London
Lighting Design: Zerlina Hughes,
Sumya Monga; Studio ZNA, UK
Architect: AL_A, UK
Exhibition Design: Storey Studio, UK
Lighting Specified: Applelec,
Atmosphere Zone, Enliten
Architecture, iGuzzini, Oshino,
Precision Lighting
Photography: Thomas Adank
082 / 083
A key area in the exhibition was the perfume
room. Here, Studio ZNA created rotating beams of
glowing light passing through a gold liquid perfume
bottle, using a solo installation treatment with
scenography and light play refracting through a
dynamic light source.
The Perfume Room, which has its own structure
within the exhibition, is one of the standout features
in the exhibition, along with the bespoke abstracted
chandelier in the eveningwear finale section, where
the Rue Cambon staircase has also been recreated.
Light moves constantly across the stairs at the
exact tempo of a film, projected onto the panels
alongside and above the stairs, which feature
archive footage of Chanel herself.
The lighting designers were brimming with
creative ideas and inspiration for what the
exhibition could offer in luminosity and elegantly
layered lightscapes. However, they were met
with the challenge of working within the space’s
low conservation lighting requirements. When
asked how challenging it was to balance the low
conservation levels in the project Hughes replied:
“I would say it is challenging, but at the same time
we are also very used to it. In our specialised area
of work, the norm is creating choreography-led
lightscapes with objects as the focus. For example,
the ‘window’ backdrop in the second section
features a dynamic white lighting loop with soft
movement to evoke the feeling of dappled sunlight
through branches. In the ‘villa’ backdrop area, the
AV treatment created a sunset-scape, ensuring a
dynamic space without any extra exposure hitting
the objects and works. For the perfume room,
we created a dynamic environment using DMX
protocols to create changing light scenes. For the
finale section, we created a centrepiece chandelier
to give a soft, ambient light, while, to further the
AV presentation of archive footage, we added a
supplementary moving light onto the cascading
staircase.”
Studio ZNA’s design truly elevates the entire
exhibition experience, creating mood and
atmosphere while enhancing the beauty
and detail of the subtler pieces. It effectively
highlights the longevity and complexity of
Chanel’s creations, adding a three-dimensional
dynamic that highlights fine panelling and texture.
By preventing flatness through skillful use of
luminosity, the lighting design plays a crucial role
in the presentation of the 350 objects on display,
ensuring each piece is seen in its full splendour.
It would be fair to say the team designed a
sophisticated and glamorous lighting scheme
that captures the very essence of Gabrielle Coco
Chanel.
www.studiozna.com
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 MUSEUM & CULTURAL LIGHTING

084 / 085
The Eames Archives
Richmond, USA

Situated in the Eames

Institute, the Eames
Archives is one of the most
comprehesive collections of
the duo’s iconic work. Lighting
designer Grace Mennell was
tasked with illuminating the
space to effectively showcase
the objects on display.
MUSEUM & CULTURAL LIGHTING THE EAMES ARCHIVES
ver the course of their decades-long
O personal and professional relationship,
designers Charles and Ray Eames engaged
in a tireless pursuit of problem-solving design
that led to some of the most groundbreaking and
iconic creations of the 20th century. From mass-
produced ergonomic furniture utilising state-
of-the-art materials and technologies, to films
that succinctly and playfully conveyed complex
concepts, to exhibitions that structured information
like architecture to proposals that brought greater
awareness to humankind’s impact on the planet, no
subject matter or medium fell outside of the pair’s
wide-angled vision.
Situated in Richmond, California, The Eames
Institute holds one of the most significant and
comprehensive collections of Eames designs and
related ephemera in the world.
086 / 087
Titled the Eames Archives, the collection is part
of a recent build-out of the Eames Institute’s
headquarters, and encompasses early
correspondence and artwork that predates their
meeting, unique prototypes and process materials,
industrial products, printed communications, and
even treasured personal effects.
Almost the entirety of the duo’s oeuvre is
represented, giving an expansive view of the
practice, and inspiring future generations with their
humanistic and hands-on approach. The Institute’s
internal teams led the exhibition design and
curation of the 1,900sqft gallery, alongside gallery
designers Standard Issue. Four main elements
contribute to the spatial design: Ray’s Table to
display 3D objects, Vertical Display Wall with
pegboard and vitrines, Archival Photography Wall,
and the curtain-defined Chair Tasting Space.
The lighting design for the gallery was led by Grace
Mennell, who worked hand in hand with Standard
Issue to illuminate the space. Speaking with arc,
Mennell explains how her role on the project came
to be: “In early 2023, I was approached by a former
colleague, now working at Standard Issue, to take a
look at their upcoming project, an exhibition space
for the Eames Archives, to assess the feasibility of
integrating lighting design into their architectural
gallery design.
“At the time, Standard Issue had already begun
working with the Eames Institute in a pre-design
and concepting phase, and the studio was
moving into schematic design as these early ideas
percolated and took shape. After an initial meeting
and project brief, I began working closely with the
architects and industrial designers at Standard
Issue to develop the lighting design concepts
and schemes alongside the exhibition design,
including the planned specialty display systems
and casework.”
This collaboration, Mennell adds, ensured that,
from the early design phases, lighting design could
be used a s a tool to better bring the project to life.
“As Standard Issue designed various iterations of
object pedestals, casework, and vertical display,
I followed shortly behind to consider the role
lighting could play and assess the technical
feasibility of what we were trying to achieve.”
Guided primarily by the studio’s design vision
and concept, Mennell designed a new lighting
system for the Eames gallery space. This process
began with a study of both the Eames collection,
as well as previous retail and gallery displays
of Eames furniture. The existing space, which
was to be converted to a gallery for the Eames
Archives, posed unique challenges though, with
its low ceilings, minimal existing track lighting, and
adjacent warehouse and office spaces. But, from
her initial assessments and design discussions,
Mennell’s primary goal for the lighting design
became to “elevate, emphasise, and highlight each
individual Eames object in the gallery as its own
unique moment and work of art”.
She continues: “This lighting design concept
worked well with Standard Issue’s exhibition
design that aimed to create moments of play and
discovery.
088 / 089

By integrating the lighting design closely with the
overall exhibition design and visitor experience,
the lighting became an important tool in guiding
visitors, seeing Eames artefacts in a new way, and
creating an inviting space where visitors could
learn the history of these objects and understand
the greater narrative of the Eames Archives.”
Alongside the development of lighting design goals
and concepts, Mennell was “keenly aware” that the
client wanted the lighting system to be discrete
and carefully integrated into the existing space.
Luminaires from Luxam Lighting were specified
for the project – the microspot and wall wash
LED lighting lines providing the flexibility of focus
and the brilliance of a high CRI fixture. “The small
profile of Luxam fixtures was a huge advantage in
designing this space as they allowed for specifically
focused spot lighting without compromising sight
lines or making the space feel lower and more
cramped,” Mennell adds.
“After considering various other track lighting
options for the gallery, Luxam became the clear
choice for light-quality and careful integration of
the lighting system with the architecture of the
space.”
With the adjacent warehouse and office spaces,
the design team wanted the gallery to feel
separate and contrast with the other, more
functional spaces operating under the same roof.
The warehouse and office spaces employ more
ambient light, including daylight, that creates
a feeling of vastness and homogeneity as a full
archival collection. The goal for the gallery was to
instead elevate and draw special attention to each
featured object in a more intimate space.
MUSEUM & CULTURAL LIGHTING THE EAMES ARCHIVES
In addition, the gallery, although a small space, has
groupings of objects and artefacts that are crucial
to the curatorial narrative.
“These groupings and distinctions were aided
by the specifically focused lighting and the use
of different systems of light for different gallery
sections,” Mennell continues. “In some areas, you
will see a more general lighting wash approach,
and in others, the objects are more spot-lit and the
surrounding areas lack ambient light.”
By creating a more dramatic look and feel for
specific objects and the gallery overall, Mennell
believes that the lighting helps to create a sense of
juxtapositions with the rest of the Eames Archives
space, as well as contrasts within the collection.
She adds: “These differences create the potential
for visitors to understand a deeper and more
intricate narrative of the objects and design history.
The flexibility and ease of the Luxam LED system
allowed me to highlight small details, textures, and
certain forms of each object to better understand
and see the breadth and intricacies of the Eames’
work.”
For the Eames Archives gallery space, it was critical
for Standard Issue to create an environment for
deep exploration of the objects on display, and
Mennell’s lighting design works in conjunction
with the wider architectural design to beautifully
emphasise line, shape, colour, and texture of
the objects in the broader context of the Eames’
collection.
www.standardissuedesign.com Client: The Eames Institute
Lighting Design: Grace Mennell, USA
Gallery Design: Standard Issue, USA
Lighting Specified: Luxam Lighting
Photography: Nicholas Calcott
 eye
opener

Terminal for Tirana

Tirana, Albania
Contemporary artist Karolina Halatek has
unveiled her latest, permanent installation
for a public space in Tirana, Albania. Titled
Terminal for Tirana, the immersive light
sculpture was curated by Adela Demetja and
implemented by Tirana Art Lab – Centre for
Contemporary Art.
The site-specific installation draws
inspiration from the profound recollections
of patients experiencing near-death
experiences (NDEs), with Halatek looking to
create a space where art, spirituality, and
science intersect.
Terminal for Tirana therefore offers a
contemplative space where visitors can
experience a sense of euphoria, peace,
and the feeling of transcending physical
boundaries.
Halatek’s sculpture is composed primarily of
a single polyethylene cylinder of 6x3-metre
diameter, illuminated from within by solar-
powered LED neons. This tunnel of light
invites visitors to step into an otherworldly
experience, reminiscent of those reported
in NDEs – a journey through a dark tunnel
towards an enveloping, radiant light. The
artwork finds its roots in echoing common
experiences recorded in the databases of the
Near-Death Research Foundation (NDRF),
adding a profound exploration of human
consciousness and mortality to the stunning
visual spectacle.
Terminal for Tirana reaches further than
an art installation; it is a meditation
on life, death, and the persistence of
consciousness. Situated at the entrance
of Tirana’s University Hospital Center
Mother Teresa, the work gains an added
layer of significance, resonating with
those contemplating life’s fragility and the
mysteries beyond. This approach is also
reflected in the site’s transformation, which
has been designed by Elian Stefa and Dea
Buza to create a variety of moments of
intimacy and pause.
Accessible from both sides, the installation
invites viewers to immerse themselves in
the transformative power of light, offering a
glimpse into what might lie at the threshold
of life. It is a reminder of the eternal
continuity in the world of light, urging the
audience to reflect on our existence and the
universe’s boundless mysteries.
www.karolinahalatek.com

090 / 091
Image: Ilir Tsouko
 REBIRTH: The Elegance of
Ukrainian Resilience in Couture
Martina Frattura tells arc about a recent collaboration that saw
COMMENT her illuminate a one-day fashion exhibition for luxury clothing
MARTINA brand Khris K.
FRATTURA

Client: Khris K
Lighting Design: Martina Frattura,
Camila Grimaldi
Curators: Khrystyna Kurliak,
Claudia Garcia, Martina Frattura
Gallery Design: Standard Issue, USA
Lighting Specified: Audiomatrix
Photography: Alina Kvitka,
Arianne Amores
This is the retrospective of last February’s one-
day exhibition of the independent luxury clothing
brand Khris K: a testimony to the unlimited
potential of light as a means of expression; a
bridge between people, disciplines, and emotions.
Originally from Ukraine, now based in Portugal,
Khris K is a brand that conveys messages of
strength and hope and stands for resilience and
optimism. More than just illuminating garments,
light becomes the vessel for the emotions and
convictions of visionary designer Khrystyna
Kurliak, embodying the brand’s dedication to
natural materials, zero waste, craftsmanship and
exclusivity, as well as the message of renewal in the
new clothing collection.
Working with lighting designer Camila Grimaldi,
when we were asked to join the event team last
year, it was immediately clear that it would be more
than just choosing and placing the lighting fixtures.
The nature of a one-day event enriched the work
with new design details, requiring a more scenic
than architectural approach, as well as much-
needed new collaborations.
We were required to transport visitors into an
environment that would allow them to resonate
with the designer and her artistic message in an
ethereal, all-white cultural space, the one chosen as
the canvas on which to develop our vision.
Central to our concept was the notion of spiritual
upliftment and healing through communion with
nature. This is how ‘REBIRTH’ was conceived: an
event with an approach as spectacular as it is
functional, co-curated with the designer and her
team, where light finds its stage.
Going out and subverting the schemes of the
catwalk, we imagined a metaphorical river, where
stories ebb and flow, reflecting the complexity
of life itself. Imaginary waters, a non-linear body
of water that breaks, meets roots, is sometimes
shallow, sometimes deeper, and where light
becomes the current that guides visitors along this
journey. In the illuminated room, the audience is
invited to explore, reflect, and stop as they walk
along this imaginary ‘river’.
The audience is called to ‘return to the source’,
guided by the verdant charm of a Ukrainian forest
that materialises between the bare walls of the
room, ceasing to be just a passive receptor, but
becoming a co-protagonist, looking at the islands
‘on the banks’ that house the designed clothes.
One of the new design challenges was to work in
synchrony with an ecological and sustainable floral
design company, which was needed to transform
the space into a forest of scents and shades, and
with a company specialising in lighting supplies for
events, which supported our concept and helped
us to fit perfectly into the limited time allocated.
Even the realisation of the lighting scenarios, with
assembly and disassembly in two days, would
not have been possible without the guarantee of
flexibility and adaptability until the last moments
before the event.
These logistical constraints dictated the choice of
lighting: battery-operated luminaries with Wi-Fi
DMX control, supplemented by wired projectors.
While ‘the source’ was represented on a structure
belonging to the space itself with a video projector,
the river was suggested by a series of linear
luminaires placed in sequence, where the same
‘chase effect’ became the guide to the route along
the clothes.
The choice of the wireless power and control
system, also for the lighting dedicated to
the exhibited garments, proved to be a far-
sighted choice that allowed us to integrate any
modifications, as well as considerably shortening
the installation time of the luminaires and the
fluidity of our and the other installers’ work.
Light became the pivot linking fashion, nature and
human emotions, casting a luminous spell that
transcended the boundaries of physical space
and remained in the hearts and minds of all who
witnessed its splendour, all in the very short time of
a single day’s event.
www.khrisk.com

092 / 093
MUSEUM & CULTURAL LIGHTING
 case
study
MUSEUM & CULTURAL LIGHTING
David Geffen Hall David Geffen Hall is the home of the New York
Philharmonic, a cultural hub for New York.
New York, USA Designed by architect Max Abramowitz, it opened
in 1962. The hall has undergone various beautiful
During its most recent transformations throughout the years. GVA was
renovation, fixtures from part of the most recent 2022 renovation, where its
luminaries and technologies are utilised to further
GVA Lighting helped
enhance its elegance.
to further enhance the
This latest reimagining of the hall was designed
elegance of New York’s
by Diamond Schmitt Architects and Tod Williams
David Geffen Hall.
Billie Tsien Architects, with a focus on inclusion and
community experiences. The architects aimed to
create a classy, modern and accessible concert hall
while keeping the authenticity intact.
Viewing from the outside, the original columns,
façade, and windows remain largely untouched
– while the space has been modernised with an
improved visitor entrance, a street-facing exterior
media wall and new eateries. By rearranging the
grand stairs, escalators and ticket desks on the
ground floor, an open plan design was achieved.
The concert hall itself has been completely
transformed. The stage was moved forward 25ft,
and the seatings were reduced at the back. Seats
were placed surrounding the stage to create a
better auditorium experience. Acoustics were
improved with innovative modern technologies,
using wood panelling coats for the interior.
An improved community space was developed
via the creation of a community living room, a
screen to live stream performances from inside
the Wu Tsai Theatre, and a sidewalk studio for
performances and events.
094 / 095
Image: Michael Moran
With the use of GVA luminaries, lighting designer
Fisher Marantz Stone created a welcoming
ambiance matching the interior design, while
providing adaptable lighting to accompany
performances and events.
STR9 Lite Color Changing was selected to light the
cove and ceiling spaces within the main hall, the
lobby, and the corridors. The dynamic nature of the
colour-changing luminaries makes it possible to
generate another dimension of visual experience
through light.
STR9 Dynamic White was used to create linear wall
washing and grazing – while Highlighter Mono
3000K was utilised to create another cove for the
fifth floor.
With the help of GVA’s Color-Amp technology, it is
able to deliver the maximum lumen output given
the same power available, and create the uniformly
lit surface required by the lighting designer.
As the curtains rise on the new chapter of David
Geffen Hall, it stands as a testament to the
harmonious fusion of architecture and lighting
design, setting the stage for a future where culture,
innovation, and community converge in perfect
harmony.
www.gvalighting.com
www.fmsp.com
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 case
study
MUSEUM & CULTURAL LIGHTING
Natural History The Natural History Museum has redesigned its
long-running Wildlife Photographer of the Year
Museum exhibition to enhance the presentation of the
London, UK works and reveal more of the Victorian building’s
intricate architecture.
The museum collaborated with architects
The Wildlife Witherford Watson Mann, lighting designers
Photographer of the Year Lightheory Studio, and art lighting specialists
exhibition has recently TM Lighting to create a modular framework that
been redesigned, with can be adapted, shuffled, and reused for future
fixtures from TM Lighting exhibitions, while highlighting the impressive
helping to showcase both stonework of the Victorian exhibition hall.
the works on display, and TM Lighting enhanced the exhibition’s ambience by
the building’s Victorian illuminating the surrounding building architecture
architecture. and assisted the museum curators in achieving
high colour rendition for the backlit framed
photographs. The new lighting design brings to
life the architectural details of the space, creating
an environment that underscores the exhibition’s
focus on environmental themes and depictions of
natural habitat destruction.
Previously, the space featured graphite-coloured
fabric panels to create a black box effect, obscuring
the architecture. The goal was to reintroduce
natural daylight without allowing too much, using
conservation blinds to block excessive sunlight
and prevent damage to the artwork. Now, TM
Lighting’s Gallery130 (G130) Spotlights highlight
the architectural features, providing a dramatic
backdrop to the exhibition. These G130 Spotlights
deliver a 98+ CRI, providing high colour rendition
that effectively displays a full spectrum of colours
akin to natural sunlight, but without the harmful
effects of UV, infrared, and heat.
096 / 097
Image: Andrew Beasley
The G130 is equipped with linear spreader lenses
at a close track offset to graze the grand column
stone reliefs, and soft-focus lenses to illuminate
the wood panelling that frame the exhibition
space. Lightheory’s expertise in blending daylight
with artificial light ensures the exhibition space is
impeccably lit as daylight levels change throughout
the day.
TM Lighting assisted in transforming the space into
a flexible and versatile exhibition area. The lighting
along with the walls and other elements of the
exhibition, can be reconfigured and adapted for
each new exhibition. As art lighting specialists, TM
Lighting consulted with the museum’s curator on
backlighting the exhibited photographs with high
colour rendition lighting to ensure the full vibrancy
of each photograph was accurately represented.
In more intimate spaces, visitors can view behind-
the-scenes footage showcasing the photographers’
journeys in capturing wildlife worldwide. Here,
TM ZeroThirty Spotlights highlight the furniture
surrounding the screens, crafting a seamless and
cinematic ambience inviting visitors to take a seat
without detracting from the overall exhibition.
The Natural History Museum is considered a
work of art in its own right. Designed by Alfred
Waterhouse in 1873, this building is one of
London’s most iconic landmarks. The revitalisation
of the Wildlife Photographer of the Year exhibition
breathes new life into the museum, honouring
its legacy while enriching the overall exhibition
experience for visitors.
www.tmlighting.com
www.lightheorystudio.com
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TTC-ADO_AZ_mondo_2406_V2.indd 1 04.06.24 13:06

 case
study
MUSEUM & CULTURAL LIGHTING

Image: Thijs Wolzak

Roman Villa
Museum
Somerset, UK
Working alongside
abundant natural
lighting, fixtures from CLS
effectively illuminate this
Somerset museum.
The Roman Villa Museum in Somerset, UK, located
on ‘The Newt’ estate, is a museum about Roman
life in the English countryside in the year 351AD.
This project, located on the extensive estate, also
includes a hotel, restaurant, garden, multiple
museums, and a lifelike version of a Roman villa.
The Roman Villa Museum is the latest addition to
the estate. Following Beezantium, and The Story
of Gardening, this exhibition was also designed by
Kossmandejong, which approached Amsterdam-
based agency, HeinzLoopstra Lightdesign, to
design the lighting.
For the first museum, the designers looked for
a suitable lighting solution and decided on the
CLS Jade. The Jade has subsequently been used
in all three museums. Due to the near-endless
possibilities, this fixture fits perfectly into the
designers’ lighting plans.
In the design of the Roman Villa Museum, the
architect opted for a white back wall and a glass
front, allowing plenty of daylight to enter the
interactive space. The lighting designers aimed
to ensure that the lighting perfectly matches the
natural light at all times of the day. HeinzLoopstra
explains: “In the daylight, we wanted the light to be
cool white. At dusk, the light fades within half an
hour, so the change goes unnoticed by the visitor
to a warmer evening setting. The owner likes warm
light, and by choosing Tunable White LED modules,
we could create different scenes based on the
incoming daylight.”
To calculate the desired result in advance,
the entire museum was put in Dialux to get a
precise picture of the daylight in the museum.
By importing the CLS Jade fixtures into the
programme, the designers could check the angles
of the light and see how they could achieve the
desired result. They could also see that the lux
values of sunlight corresponded perfectly with
the measured values in the museum. Through
the renders, they convinced the estate owner of
the Tunable White light modules, which are used
in all 180 fixtures. The modules and fixtures are
programmed with a flexible DMX control system.
That was the only logical solution for this project
due to the number of fixtures.
Although the lighting designers certainly
succeeded in creating a beautiful lighting design
in combination with the daylight, this also created
a challenge. In addition, the layout of the museum
was also a challenge, especially the wooden arches
on the ceiling. The arches limited the space for
all the installations that had to be placed here,
including the light rails.
However, the designers also indicate that these
challenges and limitations made the project fun
and that they and the customer are satisfied with
the result. “It has become a beautiful exhibition.
The contact with the glass façade and the ruins
of the Roman Villa in the middle of the museum
are gorgeous. In addition, we think it has been
successful to allow the light to be an addition to
the existing daylight and gradually let the fixture’s
lighting become warmer as dusk falls. It transforms
the entire atmosphere in the museum.”
www.heinzloopstra.com
www.kossmanndejong.nl
www.cls-led.com

098 / 099
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 case
study
MUSEUM & CULTURAL LIGHTING
Necat Nasiroglu The lighting design for the multi-purpose Necat
Nasiroglu Social Complex, covering an area of
Social Complex 164,000sqm, was prepared by NergizArifoglu
Batman, Turkey Lightstyle Studio. The designer envisioned a
captivating and mystical atmosphere that would
also highlight its architectural forms.
Solutions from Unique details and products that would create a
Clear Lighting help to genuine impact were used in this project, designed
illuminate a vast, multi- for the largest place of worship in the region. The
purpose complex in studio chose Clear Lighting’s F22 LED flex linear to
southeast Turkey. emphasise the continuous effects in the lighting
design and create a soft depth. Redi Lighting,
with years of experience, made a significant
contribution by preparing Clear Lighting products
that were most suitably implemented for the
project. Thus, the design, product, and application
seamlessly integrated into each other, enhancing
not only the night architecture but also enriching
the spiritual experience. The Necat Nasiroglu
Social Complex, located in Batman in southeastern
Turkey, was planned to be the largest complex
in the region. The complex includes a mosque
with a digital dome that can accommodate 8,000
people simultaneously, a library for 300 people,
a conference hall for 1,000 people, a condolence
house for 600 people, and a youth centre.
The complex is situated at a crucial junction
of Batman’s worship, education, tourism, and
transportation areas. The investor’s special request
was for the complex to offer a special lighting
design that would create an inviting and impressive
atmosphere both during the day and at night.
Nergiz Arifoglu Lightstyle Studio collaborated with
a multidisciplinary team for 24 months to design
100 / 101
the lighting of this large complex. Each selected
product was tested on-site to ensure it met the
specific details and requirements of the project.
For the project, reliable, sustainable, durable,
flexible, and efficient products were preferred. With
years of experience, Redi Lighting supplied the
selected products, managed investor relations, and
provided installation supervision services, while
Clear Lighting’s products stood out in the project.
In the lighting design of the project, to guarantee
a three-dimensional perception of the architecture,
deepen spiritual feelings at night, and create a
seamless atmosphere, Clear Lighting F22 LED flex
2700K products surround the entire complex with
soft, warm light. The strategic placement of Clear
Lighting’s LED flex linear ensures that no corner of
this grandeur remains in the dark. The F22 LED flex
linear LEDs, working harmoniously with the lighting
automation system, operate with the DALI protocol
to smoothly transition into different scenarios
designed throughout the day.
The visual harmony created in Necat Nasiroglu
Social Complex does much more than just
illuminate. It invites contemplation, promotes
tranquility, and celebrates the intricate beauty of
Islamic art in ways that words can hardly capture
with its lighting. This vision not only illuminates
a building but also revitalises and creates an
inspiring experience, which is a testament to the
vision and skills of each stakeholder who has fully
performed their job in the project.
www.clearlighting.com
www.na-lightstyle.com
www.redi.com.tr
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 case
study
MUSEUM & CULTURAL LIGHTING
The Samurai The Samurai Museum Berlin, established in 2022,
is Europe’s premier museum dedicated to samurai
Museum culture. Featuring entrepreneur Peter Janssen’s
Berlin, Germany private collection, it boasts more than a thousand
artefacts, spanning the 8th to 19th centuries,
showcasing the essence of samurai craftsmanship.
At Berlin’s Samurai This class, rising from serving the emperor to
Museum, lighting from Japan’s leading hierarchy in the 12th century, held
corporate friends plays a steadfast to a code of honour. The museum delves
dual role in presentation into their lifestyle, art, and traditions, shedding
and preservation of the light on their millennium-long impact on Japan.
artefacts on display. Interactive exhibits and temporary showcases
further explore their cultural influence.
In museum displays, lighting plays a dual role in
presentation and preservation. It enhances visibility
and aesthetics while protecting artefacts from
deterioration. Proper calibration of light intensity
and exposure duration is crucial to prevent
damage. A high CRI accurately displays artefact
colours, crucial for visitor experience.
Lighting fixtures must seamlessly integrate into
exhibits, requiring minimal maintenance and
durable/stable materials. Flexibility in lighting
control allows for highlighting specific features
and accommodating diverse artifacts, essential for
dynamic museum environments.
Selecting the right lighting system is pivotal for
museum exhibits. corporate friends offers top-
tier solutions integrating innovation with elegant
design. Its systems prioritise artefact protection,
utilising advanced LED technologies with minimal
light damage potential.
102 / 103
Image: David Brandt
These products blend seamlessly into exhibit
environments while offering customisation
and scalability. Precise control allows curators/
designers to adjust lighting for each exhibit’s
unique needs, underscoring the importance of
adaptability in dynamic museum settings.
Lighting Designer, Victor Kégli, known for his
artistic versatility, contributed to the Samurai
Museum’s lighting project. His expertise with
corporate friends lighting proved instrumental in
customising solutions for each artefact, ensuring
optimal illumination without unwanted shadows.
Kégli’s hands-on approach, including modifying
fixtures with custom shading, showcased the
system’s adaptability. The ease of adjustment and
precision offered by corporate friends lighting
was crucial for achieving nuanced lighting in the
museum’s exhibits.
The lighting at the Samurai Museum Berlin
epitomises the synergy between modern
technology, good design and creativity, enriching
visitors’ experiences. With advanced systems from
corporate friends and Victor Kégli’s expertise,
the museum’s lighting not only serves functional
purposes but also enhances aesthetic appeal.
Interactive installations and innovative lighting
techniques create an educational and captivating
environment, making a visit to the museum truly
memorable.
www.corporatefriends.de
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 case
study
MUSEUM & CULTURAL LIGHTING
Palazzo Grassi Originally designed as a grand family residence
in the 18th century, the classical Palazzo Grassi
Venice, Italy on Venice’s Grand Canal is now a prestigious
centre for contemporary art in Venice. Famously
Part of an update to its renovated in 2005 by Tadao Ando, in 2023 it was
lighting system, Erco’s brought completely up to date with a lighting
system from Erco.
Parscan spotlights
Palazzo Grassi became a venue for art exhibitions
bring subtle effective
when owned by the Fiat Group. It was bought in
illumination to this
2005 by French billionaire François Pinault, owner
Venice gallery’s extensive
of a contemporary art collection that includes
artwork collection.
more than 5,000 works by 20th and 21st-century
artists. Ando’s subsequent renovation conserved
the grandeur of the original 1772 palace, while
equipping the building with modern facilities for
displaying art across 5,000sqm of exhibition space.
As part of the François Pinault Collection, Palazzo
Grassi features exhibitions from Pinault’s extensive
art collection, as well as site-specific installations.
It was recognised, 20 years after the restoration,
that the lighting system needed a comprehensive
upgrade. The key challenge was to achieve a
flexible, high-quality solution while preserving the
integrity of a historic building. The fittings chosen
were Erco’s Parscan 48V LED spotlights, which were
integrated with the existing simple suspended
beam systems designed by Ando to preserve the
integrity of the beautiful, ornate ceilings.
A compact and highly flexible spotlight system
specifically designed for use in museums and
galleries, the Parscan system offers precise,
interchangeable light distributions and dimming
capabilities. This enables optimal control and
adaptability, crucial for lighting artworks that may
104 / 105
Image: Marcela Schneider Ferreira
have a range of different lighting requirements.
The Parscan’s cut-back design also reflects Ando’s
minimalist aesthetic. Its low profile allows focus
on the artworks, not the fittings, and preserves
the architectural integrity of the palace, blending
seamlessly with the beams in the exhibition areas.
The luminaires selected have a wall washing
distribution. This produces a uniform illumination
across a large surface, avoiding stark contrasts and
shadows. Instead, the fittings subtly enhance the
art by providing a soft, even light that allows the
colours and details of the artwork to be faithfully
rendered. Wall washing also contributes to the
perception of brightness and therefore increases
visual comfort. The fidelity to the appearance of
the art is enhanced by neutral white LED sources
at 3500K with colour rendering of CRI 92, ensuring
that the colours are as true to life as possible.
The Parscan system features interchangeable, tool-
free optics, which offer flexibility for both current
and future displays. If artworks change or there are
new exhibitions, the optics can be easily swapped
out for different ones, without requiring a complete
overhaul of the lighting system.
The Parscan spotlights are not restricted solely
to the display spaces. Its flexible nature means it
can also be used to light the magnificent marble
staircase. With its precise light distribution and
dimming capabilities, it not only creates safe
navigation by ensuring clear visibility and no
potentially confusing shadows. This creates a
visually cohesive and aesthetically pleasing lit
environment throughout.
www.erco.com
 eye
opener
Through the Singapore-based lighting design studio,
Looking Prism ambiguous, in collaboration with
architectural designer Todo Takanao, has
Bangkok, Thailand unveiled Through the Looking Prism, an
immersive installation that examines the
interaction of light and space. Launched
for Bangkok Design Week, the Thai city
serves as a backdrop for the piece, which
exclusively harnesses ambient light in
an impressive show of colour. Rejecting
the conventional use of additional
lighting sources, the piece showcases the
transformative power of light in shaping the
urban landscape, both during the day and
at night.
106 / 107
The heart of the installation is a window
adorned with a glass prism wall,
meticulously designed to capture and
refract the myriad hues of Bangkok’s
nocturnal charm. Situated along the iconic
Chao Phraya River, the structure offers a
mesmerising interplay of light and shadow,
capturing the essence of the city’s vibrant
energy.
As visitors approach, their silhouettes dance
amidst the kaleidoscopic display, merging
and splitting in an enchanting symphony
of light and form. Each glass prism,
meticulously crafted to pixelate and diffract
the surrounding light, serves as a conduit
for artistic expression, inviting viewers to
contemplate the interplay between light,
space, and perception.
Constructed with a sleek stainless steel
frame, Through the Looking Prism stands
as a beacon of innovation in sustainable
design. The absence of additional lighting
not only minimises energy consumption
but also serves as a poignant critique of
light pollution prevalent in modern urban
settings.
Originally conceived for Bangkok Design
Week, the installation is a testament to
the boundless possibilities of light art
installations. As it continues to captivate
audiences in Bangkok, the creators envision
touring the installation to cities worldwide,
sparking conversations and redefining
the role of light in shaping our shared
environments.
With its adaptable design and focus on
sustainability, the installation serves as
a model for future urban interventions,
challenging conventional notions of lighting
and space.
www.ambiguous-light.com
Image: Swita Uancharoenkul
 [d]arc sessions
The largest edition of [d]arc sessions to date welcomed nearly
200 delegates to the beautiful location of Tróia, Portugal, for
three days of meetings, networking, and socialising.
There was a constant hum of positivity and
excitement in Tróia, Portugal, this May, as a
record number of lighting specifiers and suppliers
travelled from across Europe for the sixth edition of
[d]arc sessions.
By now an established, and incredibly popular
fixture within the [d]arc media portfolio of events,
the latest edition was held at the Tróia Design
Hotel, on the picturesque Portuguese peninsula.
Following a short, scenic catamaran ride, where
attendees saw leaping fish and even the occasional
dolphin, leading lighting designers and interior
designers working within the European lighting
specification market came to network and meet
with a wide range of high-end lighting suppliers
across three days.
The unique format of the event allowed specifiers
to make essential connections with lighting
suppliers through a series of quickfire, speed-
dating inspired, 20-minute meetings, where they
could learn about the latest lighting products and
innovations, discuss upcoming projects, rekindle
existing relationships, and meet new brands.
Interspersed with the meeting sessions, delegates
attended a small talks programme, in which
panelists discussed the industry’s hot topics in a
Images: Gavriil Papadiotis fluid, informal, manner. Topics covered included a
108 / 109
deep dive on maintaining specification integrity,
an enthralling conversation on the value of design,
and an examination on the ways in which designers
can work together - both within their own teams,
and across studios, and even international borders.
An insightful keynote presentation from Light
Collective around the topic of “Inspiration” also got
attendees talking, and looking for inspiration for
the rest of the event.
As with each edition to date, each day concluded
with further networking opportunities in the shape
of informal dinner and drinks receptions, where
attendees could continue conversations from their
earlier meetings long into the night. This event also
saw the formation of the inaugural “[d]arc sessions
Swim Club”, with several attendees braving the cold
of the Atlantic Ocean for an “invigorating” post-
meeting swim. Taking place again over UNESCO’s
International Day of Light, delegates recreated
something first done at [d]arc sessions Rovinj in
2023, spelling out the word ‘LIGHT’ for a special
photo opportunity.
The next [d]arc sessions event will take place at
Le Meridien Phuket Beach, Thailand, on 24-26
September 2024.
www.darcsessions.com
[D]ARC SESSIONS
[d]arc sessions
Supplier Highlights
Ariel P IP67
1 DGA
The patented Plug&Play technology that
characterises the products of the Ariel series has
been developed for the interchangeability of
LED light sources in the luminaires, facilitating
and speeding up assembly, replacement, and
maintenance operations of light sources within
any indoor and outdoor project. The Plug&Play
system offers the possibility to repair and replace
the LED module at any stage of its lifecycle,
minimising the waste of resources and materials.
This technology redefines the lighting with an
increasingly sustainable and circular perspective.
www.dga.it
Expert
4 5
Pharos Architectural Controls
Expert is a new lighting control range from
Pharos Architectural Controls, designed
specifically for the architectural lighting
market. Expert fulfils the growing need for a
practical, straightforward, and cost-effective
lighting controller for DMX and DALI fixtures.
Expert is an easy to specify, commission
and programme lighting control solution
centred around a single, reliable, set-
and-forget controller with simple
configuration and guided programming.
www.pharoscontrols.com
Shapes
7 Folio
Folio Shapes are thin, endless, luminous surfaces,
totally customisable to designers’ imaginations.
Just draw a shape and Folio will transform
it in a uniform luminous surface.
Folio is perfect for light diffusion and decoration
by cladding with marble or onyx, backlighting an
image, a metal mesh or many other materials.
UL listing available as standard on all ranges.
www.folio.it
LTwo
10 APL
LTwo can be transformed from a lamp into a
luminaire using simple accessories and can
be integrated into almost all materials and
building structures. With the diameter of a
cent piece, LTwo impresses with its discretion
and simplicity. 13 optics from one form factor
and an innovative, magnetic luminaire holder
system make LTwo flexible to use and LED
technology interchangeable. The lamp is self-
retracting and so easy to install that professional
lighting becomes a ready-to-go solution.
www.apl.ag
110 / 111
MIDI LINE IP68
2 LEDItaly
The MIDI LINE IP68 is a flexible linear
lighting solution designed for harsh and
wet environments, perfect for underwater
installations. Built to withstand chemicals
and salt, it ensures lasting performance in
all submersible projects. This product offers
unmatched durability and reliability. Use this
underwater lighting fixture with confidence,
knowing this solution is engineered to excel
the toughest conditions, providing strength
and solidity for any demanding application.
www.leditaly.com
C1-micro-VL
corporate friends
Elegant and refined, C1-micro-VL is meticulously
engineered for museum and luxury retail
settings. Crafted with museum-grade materials,
its modular design offers unmatched
adaptability. Each unit boasts up to four
heads with 360° rotation and 90° tilt,
custom dimming for each spot ensuring precise
illumination. With a slender 8mm stem
diameter and 14mm head diameter, it offers
discreet yet powerful lighting. Superior light
quality with a CRI typically of 97. Choose
between single or double heads and explore a
range of accessories for added versatility.
www.corporatefriends.de
Highlighter Series
8 GVA Lighting
GVA’s Highlighter modular linear lighting
system offers direct-view and cove
capabilities in colour-changing, dynamic
white, and mono configurations.
Built on the award-winning Color-Stream
platform, it delivers communication speeds 16
times faster than DMX, pixel resolution as low as
100mm, and smooth dimming. Powered by Color-
Amp and Infinity technologies, it excels in lumen
output and circuit lengths up to 600 metres.
www.gvalighting.com
Phantom Mesh
11 Vivalyte
The Phantom Mesh is a transparent, ultra-
thin, and lightweight LED display. With high
contrast and very bright visuals, it creates
immersive depth illusions perfect for
advertising, exhibitions, or shop fitting. Easy
to install and operate, the Phantom Mesh
seamlessly blends into its surroundings,
providing clear views without light pollution.
Easy to install and operate, the Phantom Mesh
lets users display immersive content while
maintaining clear views of the surroundings.
www.vivalyte.com
Kumux Platform
3
Kumux
Kumux Platform is cutting-edge software that
optimises dynamic lighting in architectural
spaces by bridging the gap between the control
system and the lighting fixtures. The software
supports creating and automating illuminance
and colour temperature settings throughout
the day based on scientific principles to ensure
users’ well-being. Kumux applies AI algorithms
to customise lighting to the project geolocation,
space type, international circadian guidelines,
and the project luminaires spectrum.
www.kumux.io
Flex Tube Wellness
6
Proled
From the tropics to the Arctic: the Proled
Flex Tube Wellness is your safe companion
in areas with large temperature fluctuations.
Whether spas or façades: The Flex Tube
with IP67 protection class prevents moisture
ingress, not least thanks to its molded end
caps, and offers consistent light intensity even
at high temperatures. Available in 2200K,
2700K, 3000K and RGBW, it is adaptable
individually up to a length of 10-metres.
www.proled.com
Hero
9
Glint Lighting
Hero is a linear luminaire adjusted via an integral
joystick, changing the direction of its light while
the fixture remains in a fixed position and
orientation. Following the lines of the space, Hero
can provide flexible illumination with up to 40°
of beam adjustment. Since Hero does not need
extra room to move, it fits into tight spaces where
no other adjustable luminaire can go. Since Hero
does not tilt or swivel to adjust its beam, it does
not cast harsh glare onto neighbouring fixtures,
inside recesses and slots, nor up into your eyes.
www.glintlighting.com
D 100 WE IP66
12 Radiant Architectural Lighting
The Radiant D 100 WE IP66 is a DMX controlled,
dynamic LED effect lighting projector for
use in a wide range of exterior architectural
and landscape lighting applications.
Customisable decorative lit-effects are
created from a light engine incorporating
multiple colour temperature and colour
LEDs, complex DMX controlled dimming
sequences, and textured glass optics. Lumen
output is up to 600lm. A variety of mounting
accessories including tree-strap, ground
spike and custom brackets are available.
www.radiantlights.co.uk
 A closer look at some of the products and innovations that
were brought to [d]arc sessions by our attending suppliers.

[D]ARC SESSIONS SUPPLIER HIGHLIGHTS

1 2 3

4 5 6

7 8 9

10 11 12
 Timeless Lighting
COMMENT Afonso Almeida, lighting designer at Light Bureau, offers
AFONSO ALMEIDA
a poetic take on the importance of finding the right
placement of luminaires.
It’s fascinating how some luminaires are mounted
in the right place. From time to time these
luminaires may need an overhaul, upcycling or
to be replaced but they remain in their original
position. From a sustainable point of view, this
is a responsible way to build. If the placement is
correct, changes to the infrastructure are avoided.
This is an example of good use of natural resources
and labour. It is designed to last.
Cave Lighting
This picture presents an evening scene where
a primitive human intentionally places a light
in the wall, marking a potential first gesture of
architectural lighting. The scene helps us pay
attention to lighting design when reduced to a
set of tools that man had at that time. An exercise
of imagination to recreate the plot and try to
understand how a placement that has lasted for
ages can still work admirably today.
So, imagine a person walking around the cave
with the torch in their hands searching for a
unique position. This exploration of light and
shadows unveils textures, colours, shapes, and
keeps going until they find a specific spot in the
wall and set the placement.
As in any construction site, the best of luck will
offer a drillable surface to drive the nail in deeply.
Also, mind a spot not affected by water leaking,
with easy access for maintenance and refuelling,
which happens often in this case. Modern times
challenge us with similar problems despite using
another energy source. For example, the location
of the luminaire will affect, or be affected by, the
layout of the electrical supply route.
Once the torch is lit, the room is transformed into
a particular appearance. Regardless of the lighting
principle chosen, which can be of any type, those
that are installed were the ones that had to deal
with all the struggles. They are those that were
possible with the available means.
The cave was likely used as a shelter, a military
position, a place for holiness, or an archaeological
site. Even though the activities inside the cave
112 / 113
have changed over time, this didn’t challenge
the placement of the torch. The light did its job
regardless of what happened inside the cave or
by whom. It is a case of a lifelong lighting scheme
where the placement is king.
For sure an ambience with variation and different
layers tends to be more attractive. Without any
intention of preaching for a lighting scene based
on just one position or going to the most effective
solution, this imaginative exercise is in search of
a lighting element that defines a given space and
therefore can last longer.
Outside the Cave
Designing to last is a way of thinking that focuses
on things that don’t change. It’s a different
approach than a project that seeks innovation or
follows a trend. The result is not necessarily boring.
It depends on what is being evaluated. If the
intention is to minimise environmental impact,
then it is great to reduce resources over time.
Perhaps we must re-educate ourselves to evaluate
attributes based on other parameters. Then our
eyes will perceive these projects as stunning.
PS. To be fair, the torch is the second source of
light due to the clarity, warmth, and glow coming
from the fireplace, which must be considered
the first. A reminder indicating that the need for
additional light has come solely after hunger and
cold were solved…
www.lightbureau.com
 The Value of Mentorship
In this issue, we hear from a selection of past mentors in the
Silhouette Awards programme, who share their thoughts on the
importance and value of such mentor-mentee relationships.
SILHOUETTE
AWARDS
The mentors play an integral role in the esteemed
Silhouette Awards initiative. Covering all corners
of the globe, these hugely experienced and well-
respected designers are not only responsible for
selecting the 20 winning mentees for each year’s
programme, but they also participate in a six-
month mentorship programme with their paired
mentees.
Mentors team up with a chosen mentee to share
their knowledge and experience, helping to
support rising talent in the lighting industry and
create a supportive platform for inspiration and
growth. Over three years of the Silhouette Awards,
there have now been 60 mentor-mentee pairings
who have worked together to grow their careers.
We asked Silhouette mentors from all three years
to discuss what mentoring means to them and why
they believe that mentorship is so important.
Chip Israel, a year three mentor, said: “It’s because
it is the right thing to do. We need to teach the
next generation in lighting to “see.” My mentee
Anne is great and talented, and it has been
wonderful to learn about her and her journey. We
meet every two weeks to discuss life, management
styles and even her upcoming presentations, all
focused on building her confidence to equal her
expertise.”
In the dynamic world of lighting design,
mentorship is an incredible opportunity to
nurture talent and foster innovation. Through the
Silhouette Awards, mentors stand as pillars of
support, who have the ability to shape the future
of the lighting industry through their wealth of
experience and expertise.
Beata Denton, a mentor from year one said: “One
shouldn’t ever underestimate the importance
of sharing or asking for advice. It’s vital for a
rewarding and successful career. Learn that early
on and you will never feel alone; you will be braver
and find more joy in your career. The world gets
both bigger and smaller when one is part of this
mentorship programme.”
Spanning geographically across continents, the
mentors play a pivotal role in a transformative
114 / 115
six-month mentorship journey with their mentees.
These partnerships extend far beyond mere
guidance; it’s a symbiotic relationship aimed at
propelling emerging talent to new heights.
Rachel Fitzgerald, a dedicated mentor from this
year’s programme, tells us what it means to her
to be involved: “Mentorship for me holds such
significance: it fosters a powerful exchange of
knowledge, creating a communal space for growth
and development that benefits both the mentor
and the mentee.
The very essence of mentorship lies in the
profound exchange of knowledge and wisdom.
Mentors, with their seasoned insight, can
collaborate closely with their mentees, imparting
invaluable lessons gleaned from years of practice.
This is showcased by Arianna Ghezzi, as she reflects
on her collaboration last year with her mentee: “We
set a goal for the mentorship, which was entering
the LIT Lighting Design Awards and it was a great
achievement for Jess to win in her category! I could
not be more proud of her incredible achievement
and this wonderful mentorship journey where we
have grown together side by side.”
We also asked mentors to reflect on some standout
moments that they have had with their mentee
that showcase why mentorship is so crucial.
Neha Sivaprasad, a supportive year three mentor,
said: “One standout moment during our interaction
was when I shared with my mentee my own
apprehensions about starting my own practice,
despite several years of industry experience. We
delved into how I overcame those fears and how
I leveraged my accumulated experience to tackle
challenges. It was enlightening to realise that,
despite our different career stages, we shared
similar feelings. Expressing how I overcame my
challenges not only helped me articulate my
achievements but also uplifted me and provided
hope and reassurance for my mentee.
Siddharth Mathur, a year two mentor, continues:
“My mentee had primary experience working as
a decorative lighting designer, which was very
different to my experience of architectural lighting

design. But it was so interesting to see how
worlds overlap, I was able to offer some advice
based on my experience of building a brand.”
In addition to mentorship, feedback and
open, thought-provoking conversations play a
pivotal role in the growth of emerging talent
within the Silhouette Awards.
Maida Hot, a mentor from year two,
emphasises the importance of giving back
to the profession: “We all received training
at various points in our careers. Someone
generously gave their time to mentor us.
Lighting education extends beyond formal
channels; it’s about passing on our knowledge
generously to the next generation, thus
strengthening our profession.”
Kristina Allison, also an enthusiastic mentor
from year two, reflects on the reciprocal
nature of mentorship: “The mentor/mentee
journey is crucial for both parties involved. A
career is a journey of continual learning and
growth. Meeting my mentee made me realise
the depth of this journey and how much I, as a
mentor, gained from the process.”
Finally, a comment from a current year three
mentor, Maria Dautant who said: “Sharing
what we have learned throughout our careers
helps us improve and promote our industry,
as we are able to pass on our lessons learned
to the future generations and see them
improve on them.
“From the point of view of a mentee,
mentorship greatly helps in the learning
process and it is a useful guide to young
designers in setting goals that will take them,
just a bit faster, to where they want to go in
their careers.”
Through these relationships and pairings,
mentorship becomes a catalyst for growth,
innovation, and the perpetuation of excellence
within the lighting industry.
The Silhouette Awards is a collaboration
between Parrot PR & Marketing and Archifos.
Eve Gaut, Silhouette Awards Co-Founder,
Parrot PR & Marketing, commented: “We could
not be more grateful to our supportive and
dedicated mentors. As the awards grow each
year, it is a wonderful collective achievement
to see another 20 young designers benefit,
progressing their careers and developing
the future of the industry. We have seen a
lasting impact from the past two years at how
the mentorship journey has made a huge
difference to our mentees.”
SILHOUETTE AWARDS
Katia Kolovea, Silhouette Awards Co-Founder,
Archifos, added: “As the pool of mentors
grows larger and reaches further around the
world, we are proud to see how everyone is
connecting and supporting each other. It is
inspiring to see how our passionate mentors
want to continue to benefit the industry. This
year’s winners equal 60 young talents so far
who have been nurtured, making a massive
impact on the future of the industry.”
Applications for new-season mentors are now
open, and close in August. If you would like to be
a valuable part of someone’s design journey, find
out more about becoming a Silhouette Awards
Mentor on the Silhouette Awards website.
www.silhouetteawards.com
 eye
opener

Coqodaq
New York, USA
Four years in the making, Coqodaq (an onomatopoeia
for “cock-a-doodle-doo” in Korean) is a new fried
chicken concept from Korean-American restaurateur
Simon Kim. Located in New York’s Flatiron district, the
restaurant is helmed by executive chef, Seung Kyu
Kim.
Inspired by Simon Kim’s desire to create a “modern
cathedral for all things fried chicken”, Rockwell
Group has infused the dark, luxurious dining room
with touches of Art Nouveau, custom furniture, and
dynamic, highly strategic lighting throughout. The
material palette features hunter green leather, dark
walnut wood, architectural lighting, champagne glass,
soapstone, bronze, and glowing lacquered panelling.
Light is a material here, layered and choreographed to
emphasise the textures and colour of the food and the
unified organism that is the audience. The palette was
driven by a desire to surround guests in an envelope
of warmth, creating an inviting environment that
changes in tonality and mood from day to night, and is
a joyful place to be at any time.
On entering the space, guests are greeted in the
restaurant by a handwashing station in green
soapstone with a leathered finish and bronze Italian
fixtures. An inset concrete “carpet” below further
delineates the space. This completely new hospitality
element creates a beautiful moment of respite and
transition from the busy street; is an offering of
convenience for guests who are about to embark on
a sensory dining experience; and simultaneously,
heightens the sense of ritual and splendour that
awaits.
The station is surrounded by 180° of edge-lit, black-
tinted mirrors. An inset warm bronze mirror bathes
guests in a flattering, luminous glow. Lights inspired
by the restaurant’s ovoid logo are mounted to the
mirrors for a dramatic infinity effect.
Beyond the handwashing station, an informal and
communal dining area features a first-come, first-
served custom communal table made of wood and
concrete, plus high tops and mutable, movable
furniture pieces for easy transformation. This high-
energy space connects to elevated outdoor dining
through operable garage-door style windows, and
serves as the restaurant’s welcome sign – a vibrant
area where guests can visit for any length of time.
The intimate dining room has an added layer of luxury
and liveliness, and is dominated by a bar and custom
Hollywood banquettes. The dining room’s runway-
like circulation is rhythmically marked by a series of
“ghost” arches made of lit cast glass and bronze metal
connections – a typically architectural intervention
rendered here in light, instead, and casting a sparkling
glow on diners and food. Theatre lights on the sides of
the banquettes that face the walkway create additional
drama. A mirrored wall at the end of the room creates
an infinity effect, and a horizontal band of black-tinted
mirrors and integrated lighting frame the back of both
rows of banquettes, creating a datum line and further
reflecting the activity of the restaurant.
www.rockwellgroup.com

116 / 117
Image: Jason Varney for Rockwell Group
 Harmonising the way to
Lighting EPDs
In this issue, members of the GreenLight Alliance and
LightingEurope discuss the latter’s work with PEP
Ecopassport on LCA PSR0014 ed.2, and how it will
impact the lighting industry.
Those of you who have been following the
GreenLight Alliance’s journey since we set out our
objective to “…work together to help everyone in
the lighting sector understand their role in
adopting and promoting the circular economy,
GREENLIGHT working towards industry standards that are
ALLIANCE universally recognised, trusted and sought-after”,
will be as excited as we are to learn of
LightingEurope’s work with PEP Ecopassport on
LCA PSR0014 ed.2 and its recent advocation of it as
the preferred methodology. Could we finally be
looking at the beginning of true harmonisation? In
this issue some of the team involved in the process
kindly took the time to share their thoughts with
us.
Introduction
Dr Irene Mazzei - Stoane
Lighting, Sustainability Lead
Recently, decarbonisation and
sustainability goals have been at
the forefront of most companies’
business strategies to meet Net Zero and other
sustainability targets. Products belonging to the
Mechanical, Electrical and Plumbing (MEP) sector
have been found to account for a substantial
proportion of the total embodied carbon emissions
of buildings, with contributions between 15% and
over 70%, depending on the type of building [1],
[2]; the proportion of impact associated with
lighting within MEP is generally minor, but can also
vary greatly across building categories. The
significance of the environmental impacts of MEP
products is not only evident for embodied carbon,
but also considering other environmental impacts.
However, the availability of environmental impact
data of MEP products is scarce, especially in the
form of Environmental Product Declarations (EPDs).
Recent statistics from OneClick LCA reported that
MEP products only account for 3% of their entire
construction product-EPD database [3]. Regarding
lighting products, despite progress being made,
the results are also often obtained following
varying methodologies, assumptions and Life Cycle
118 / 119
Assessment (LCA) approaches, ultimately
undermining the possibility to compare results for
decision-making.
A recent study carried out applying LCA rules from
four different European EPD programmes to the
same product (a triple glazed window) returned
results which varied by more than 10% from a
baseline scenario [4]. This variation was significant
and dependent on the modelling differences
contained in the Product Category Rules (PCR)
provided by each EPD programme. Therefore, the
conclusion was that, despite these results all being
valid (i.e. they were all obtained applying legitimate
rules), the impacts calculated for the same product
were ultimately not comparable.
Considering the complexity of MEP products one
can speculate that the variations associated with
different rules and assumptions will be even more
profound: how can the lighting industry model
complex electronic systems with compatible and
aligned energy-consuming use scenarios and
waste treatment of multiple materials contained in
the same product? In this context, the definition of
a harmonised assessment procedure that can be
used for lighting product LCA and EPD publication
would provide the necessary conditions to ensure
comparability of EPD data.
With this in mind, LightingEurope [5] decided to
endorse and support the efforts of French
programme operator PEP Ecopassport [6], focused
on the update of its Product Specific Rules (PSR) for
luminaires [7]. This was achieved through a
LightingEurope-led task force, which had the
objective of identifying relevant and necessary
changes to make to the first version of the PEP
Ecopassport luminaire PSR. This article will provide
an overview of these changes and illustrate how
this initiative contributes to support the
advancement of harmonisation of LCA practices in
the lighting industry.
 The success of PSR0014
ed.2
Dee Denteneer - Signify,
Chair of LightingEurope
Task Force for PSR0014
In a recent public statement
[6] LightingEurope endorsed the PSR 0014
Edition 2.0 “Product Specific Rules for
luminaires” issued by the PEP Association as a
comprehensive and mature set of rules fit to
address the diversity of luminaires. The
endorsement followed a period of intense
collaboration between LCA experts in the PEP
Association and lighting experts in
LightingEurope, aimed at improving the
strong foundation already provided by an
earlier version of this PSR. The PSR was
subsequently reviewed by independent
experts and published by the PEP Association
in July 2023.
The key elements considered for the
endorsement were: definition of the
Functional Unit, product families and the
improvement of comparability achieved by the
inclusion of default scenarios.
The Functional Unit is defined in the ISO
14040 standards [9], as “the quantified
performance of a product system for use as a
reference unit”. According to the standard, the
Functional Unit provides a reference to which
the impacts are related, which is an essential
prerequisite for comparability of LCA results.
PSR0014 introduces the Functional Unit for
luminaires as “Providing lighting that delivers
an outgoing artificial luminous flux of 1,000
lumens during a reference lifetime of 35,000
hours’’. In the EPD, the impacts expressed at
the product level (i.e. according to the actual
luminous flux and lifetime of the luminaire)
can be normalised to the Functional Unit level,
therefore supporting the comparison of
impacts from luminaires with very different
luminous flux and/or lifetimes.
Comparison is further supported by the
introduction of default scenarios. The actual
environmental impacts of lighting products
depend on the application setting, which is
often not known at the product level.
Considerations here are the country of use,
but also the ambient lighting conditions,
building use and building layout. For EPD
practitioners to model such application
settings in proprietary ways would increase
the modelling workload as well as the
verification effort. This would also induce
variations in the calculated impacts that are
due to modelling assumptions rather than
actual product differences. These, potentially
arbitrary, variations will invalidate any
comparison of product differences.
The PSR therefore standardises default
scenarios that can be used instead of the
actual application settings, intended as
conservative “average case” scenarios,
preventing that manufacturers model these
settings in mutually inconsistent ways.
The PSR describes many standardised
scenarios. A very important one relates to the
use stage and specifies region of use and
energy mix to be used in the calculations. The
PSR also provides scenarios to account for
lighting controls. Others relate to (regional)
packaging, recycling practices and
transportation distances in installation and
end of life stage.
Another important topic considered in the PSR
is product families. Luminaires are usually
offered in product families with, for example,
varying luminous flux and colour temperature.
Some families comprise a few product types;
configurated luminaires typically offer several
more products within the family category. The
environmental impacts may vary considerably
within a given luminaire family; it is
scientifically valid to extrapolate impacts from
a reference product based on an isolated
variation of a specific aspect consistently
across the family (e.g. luminaire power). The
PSR0014 therefore defines luminaire product
families and ways to extrapolate the impacts
within the family. This may serve to avoid the
costly overhead to create EPDs for single
products in a family.
After the publication of PSR0014 by the PEP
Association, LightingEurope temporarily
remained silent on the topic, enabling
members to evaluate the rules and to create
conformant EPDs. The experiences collected
during this period allowed an evaluation of the
fit of the rules to the wide product portfolio of
the members as well as the feasibility of
implementation of the rules. This evaluation
led to the conclusion and the public statement
that the PSR is providing a viable tool to
deliver more comparable information on the
environmental impact of lighting products in a
cost-effective way.
Harmonisation progress:
an overview
Elena Scaroni –
LightingEurope, Secretary
General
The delivery of comparable
and verified sustainability information is vital
for any industry. Failure to harmonise around
product-specific rules will lead industry
sectors to produce inconsistent results, as
illustrated in the introduction: this equally
holds for lighting products.
Achieving harmonisation with a global reach,
requires further effort beyond the publication
of the PSR0014. LightingEurope has agreed
on a programme both to promote the
adoption of the rules, to address topics not
yet covered by the PSR0014, and to drive
international standardisation of the rules.
Promotion takes place through the regular
channels of webinars and presentations, see
e.g. [10], and through collaboration in the
Global Lighting Association. These efforts aim
to create awareness and foster global
GREENLIGHT ALLIANCE
alignment. LightingEurope also supports the
programmes of mutual recognition
agreements between Program Operators for
EPDs aligned with PSR0014. Promotion also
involves facilitating the work of EPD
practitioners, with LightingEurope leading
roadmapping projects to establish guidelines
to ease the use of PSR0014 and may also
investigate software and databases to
facilitate calculations and further improve
comparability.
Driving harmonisation also involves extending
the rules to other lighting-related products
such as control gear and light sources.
Customers will also want to compare drivers
and light sources for environmental impacts.
To enable these comparisons, at least
Functional Units must be defined for these
products, as well as default scenarios, such as
for energy consumption.
Rules for drivers and light sources will
facilitate luminaire manufacturers in the
development of luminaire EPDs. Indeed,
drivers and light sources generate major
impacts in a luminaire’s life-cycle, yet,
luminaire manufacturers will not generally
have access to the information to model these
impacts accurately. Publication of component
EPDs, driven by the availability of product
specific rules, will help luminaire
manufacturers with their EPDs. A bonus
advantage for the component manufacturers
is that product impacts can be published in a
standardised way, and overheads due to the
requirements of proprietary impact models
can be avoided. The luminaire manufacturers
can add the impacts of the component EPDs
120 / 121
to the impacts from their own operation.
With this in mind, LightingEurope has
launched a Task Force to develop Product
Specific Rules luminaire components, focusing
on drivers and light sources. The Task Force
started at the end of 2023 and aims to provide
product specific rules for drivers by mid-2024
and for light sources by the end of 2024.
These will then be offered for adoption to
interested Program Operators.
Some of the topics handled in the PSR0014
are global. However, at least some of the
default scenarios are European-centred, such
as default scenarios for the use stage (as
PSR0014 mandates calculations based on the
European energy mix), waste collection and
recycling, packaging and distribution. These
may vary among the regions and default
scenarios should reflect such variations.
To help with the development of scenarios
reflecting regional differences, LightingEurope
actively interacts with organisations aiming to
develop Product Specific Rules for luminaires,
for example SmartEPD in North America. The
aim is to the keep a common core, while
extending the rules with necessary regional
variations.
At present, a lot of activities are ongoing in
different regions, which is essential to create
truly global product specific rules for all
lighting products as well as for consensus-
building purposes. However, LightingEurope
firmly believes that it is better to eventually
consolidate the rules centrally. LightingEurope
has therefore initiated and backs the
programme started in IEC TC34 to standardise
a PSR for luminaires.
Manufacturers’ feedback
By LightingEurope member manufacturers:
Stoane Lighting, Signify, Erco, Ledvance
In this section, manufacturers using PSR0014
will share their experiences, what they have
learnt in this process and how they
communicate the results to customers.
Stoane Lighting: Stoane Lighting was an
active member of the LightingEurope task
force TF PEP Ecopassport working on the
update to the luminaire PSR (PSR0014), as we
recognise the power and importance of
strengthening and harmonising LCA practice
in lighting. Stoane Lighting has been on a
two-year journey to build in-house LCA
capability and is working on its first EPDs.
Stoane Lighting recognises the value of
producing this information for stakeholders
outside the business, but is also using LCA as
a means to assess products and processes,
with the aim of creating a company impact
assessment ecosystem that empowers
lower-impact design and decision-making.
Signify: Signify has recently announced the
results of a substantial drive to create
Environmental Product Declarations (EPDs). As
a result of this effort, it has released 2,000
EPDs, covering more than 70,000 product
variations around the world, which were
created considering the methodology
underlying PSR0014. Municipalities,
businesses, and individuals are increasingly
looking for fast, effective ways to reduce their
environmental footprint. EPDs quantify
products’ environmental impact over their full
life cycle, empowering customers to make
informed decisions on lighting investments. In
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GREENLIGHT ALLIANCE
Graphic representation of the concept of the Functional Unit as a standard performance unit (left), useful to represent and
compare the impact based the scope fulfilled by a luminaire, regardless of their specific performance (centre); example of
default application scenarios for luminaires, which would impact the use stage of the product (right).
References
1. LETI, “LETI Embodied Carbon Primer,” 2020. [Online].
Available: www.LETI.london
2. Phanos Hadjikyriakou, “MEP Embodied Carbon: The
elephant in the room, roof and basement… | 2050
Materials.” Accessed: Mar. 07, 2024. [Online]. Available:
https://blog.2050-materials.com/mep-embodied-
carbon-the-elephant-in-the-room-roof-and-basement-
729257f5cb96
3. “One Click LCA.” [Online]. Available:
https://www.oneclicklca.com/
4. F. Konradsen, K. S. H. Hansen, A. Ghose, and M. Pizzol,
“Same product, different score: how methodological
differences affect EPD results,” International Journal of
Life Cycle Assessment, vol. 1, pp. 1–17, Dec. 2023, doi:
10.1007/S11367-023-02246-X/FIGURES/5.
5. “LightingEurope.” [Online]. Available:
https://www.lightingeurope.org/
6. “LightingEurope.” [Online]. Public Statement on PSR
rules for luminaires. Available:
https://www.lightingeurope.org/
7. “PEP Ecopassport.” [Online]. Available:
http://www.pep-ecopassport.org/
8. PEP Ecopassport, “PSR-0014-ed2.0-EN-2023 07 13 -
Specific Rules for Luminaires.” 2023.
9. ISO 14040:2006 Environmental management — Life
cycle assessment — Principles and framework.
10. LightingEurope: Presentation of the LightingEurope
Strategy towards 2030, Light + Building, 2024.
11. https://www.ledvance.de/00_Free_To_Use/
asset13079437_white_paper_globalwarmingimpact_
luminaires.pdf
12. https://register.pep-ecopassport.org/pep/consult
This series is curated by Dave Hollingsbee of
Stoane Lighting,
dave@mikestoanelighting.com
122 / 123
addition to driving greater transparency for
customers, EPDs are advancing evidence-based
sustainable innovation within Signify, providing a
quantified footprint that acts as a baseline for
further improvements in next generation product
iterations.
Erco: Erco is renowned for producing highly
durable luminaires. The LCA, and in particular
PSR0014, provide a robust foundation for globally
recognised communication and documentation
standards required for sustainable lighting
solutions. Its involvement in the revision of
PSR0014 has given us a deep insight into the
underlying methodologies. Since January 2024,
Erco has been offering detailed EPDs to help
project developers in various sectors to take
advantage of the benefits of long-lasting products.
This approach not only promotes transparency, but
also enhances sustainability by providing a single
view of environmental impact. With this in mind,
Erco is streamlining workflows by incorporating the
GWP data from the EPD directly into the
specification sheets of relevant products.
Ledvance: Ledvance has contributed to and
advocated for the innovative PSR0014 standard for
luminaire EPDs in collaboration with Lighting
Europe and the PEP Association since the
beginning. Ledvance is convinced that this
methodology is the right approach to enable
comparison between products internally and
externally with regards to their environmental
impact. Ledvance conducted its own internal
evaluation, resulting in a white paper that validates
the applicability and reliability of this standard [11].
Ledvance has already published numerous
externally-verified EPDs according to PEP PSR0014
standard, publicly available in the PEP database
[12]. Ledvance is fully convinced that the PSR0014
standard is the right one for the lighting industry
and will continue publishing more EPDs according
to this standard moving forward. The learnings
gained from these EPDs will be leveraged to design
even more environmentally-friendly products in the
future.
Challenges and next steps
By Dr Irene Mazzei - Stoane
Lighting, Sustainability Lead
A background made of robust
and consistent LCA rules is the
first, necessary step to reach a
harmonised LCA practice within the lighting (or
any) sector. Being able to capture all aspects of
products in LCA, consistently across different
manufacturers and different regions, is
fundamental to make sure that the results we
obtain are valid and comparable.
Despite this, efforts are still at risk if a suitable
market infrastructure is not there to welcome
them. This means more accessible ways to produce
and publish EPDs, but also making sure that the
results are used correctly. EPDs contain detailed
information about environmental aspects of
products; in a previous article curated by the
GreenLight Alliance for arc magazine (issue #139),
we provided an overview of different impact
indicators, commonly found in EPDs, with their
respective meanings and how luminaires can
contribute to impacts in each of them. It is
important that end users of EPDs are familiar with
these concepts and know how to read results and
apply them in their projects.
It is also critical that, if EPDs are used with the
ambition of aiding specification decisions, care is
used when comparing environmental impacts.
Some of the questions to ask ourselves during this
process are: are these results reported for the
functional or the declared unit? Which scenarios
have been used to model the use-stage? Was the
same PCR used – or are the PCRs aligned?
Another aspect to consider when evaluating LCA/
EPD results is that they can carry uncertainty,
based on the data used to produce them.
Therefore, it is important to acknowledge data
gaps and identify ways to fill them by collaborating
with the whole supply chain, for example with
alignment between initiatives at product level and
component level.
Product
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1 2
4 5
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4 Landscape Forms
Northport Collection lighting by Landscape
Forms and Robert A.M. Stern Architects
pays homage to traditional street lighting,
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Including a path light and multiple area light
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124 / 125
TM Gallery130
2 TM Lighting
The TM Gallery130 (G130) spotlight is a
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Honeycomb Silicone Flexible
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Olympia Lighting
The SFW20 is the world’s first Honeycomb
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3
6
Focus Micro
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The Focus Micro, one of the most compact, fully
equipped zoom fixtures available. It is only 48mm
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CRI of >95, various colour temperatures and a
wide range of control methods. Its size makes
this fixture virtually invisible and unobtrusive,
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Globe Series
6 MaxiLED
The MaxiLED Lighting Globe Series provides
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Each strand is built for permanent installations,
featuring rugged, injection-molded outer
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corporate friends 057 LEDFlex 004, 005 QU Lighting 009

[d]arc sessions 014 LEDiL 095 Radiant Architectural Lighting 126

dpa lighting consultants 128, 129 LEDItaly 083 Recolight 011

DW Windsor 125 LiGHT 24 131 Stoane Lighting 081

ELS 013 Ligman 049 TM Lighting 101

Erco 067 LITE 002 Vivalyte 105

Feelux 073 Lumascape 003 Wibre 099

formalighting 027 Luxam 087

Advertising enquiries should be made to Jason Pennington. Tel: +44 (0) 161 464 4750 email: j.pennington@mondiale.co.uk
 IALD ENLIGHTEN AMERICAS 2024
17 - 19 OCTOBER · SAN DIEGO, CA, USA

EA24 is the crown of the architectural lighting design industry’s leading conference
series, offering a comprehensive and enriching experience for hundreds of attending
professionals from around the world.

Gain insight into emerging trends, technologies, and methodologies. Enhance skills
and spark creativity through dozens of workshops, seminars, and presentations by
thought leaders and prominent designers. Join peers in recognizing and celebrating
innovation and excellence at the 41st Annual IALD International Lighting Design Awards
live presentation.

Held in the warm, inviting Rancho Bernardo region of San Diego, IALD Enlighten
Americas 2024 will be another unforgettable and enriching conference experience.

Spend three days with the IALD and the lighting design community’s brightest.
Let the IALD Enlighten Americas 2024 experience #SparkInspiration within you.

Registration opens this month at iald.org/ea24

EA24 Reg Opening 310x210 - darc.indd 1 6/12/24 11:08 AM

dpa lighting consultants
Career Opportunities

We have the following positions available within our

Oxfordshire, London and Dubai studios:

Senior Associates - Associates - Senior Lighting Designers

www.dpalighting.com

Photography: “The Dancing Trees of Sumba” by Vikas Chander

 bucket
list
curated by
#40

Christine Sicangco “Fireflies are like small

& Jovi Gonzaga ounces of magic.”
Haliegh Kemmerly,
Christine Sicangco Winston Narwhal and the First Wish
Lighting Design

What
Firefly watching in the mangrove rivers of the Philippines,
via a banca.

Where
Philippine mangrove rivers (Sicaba River, Manapla,
Negros Occidental/ Maasin River, Siargao/ Donsol,
Sorsogon, Loay River, Bohol, Iwahig, Palawan).

How
Take a “banca” (a small traditional native dug-out canoe)
at dusk till dark during the new moon – a banca is the
quietest way to glide into the mangrove rivers in the dark
so as not to disturb the fireflies in their habitat as any
slight change in their environment, like noise or light,
affects them.

When
As the fireflies lay eggs at the roots of the mangrove, it
is best to watch them from December to January, when
the mangrove trees are in full bloom and best during the
new moon, when the skies are dark.

Why
Aside from the magical phenomenon of seeing fireflies,
there is a pressing need to spread awareness to protect
and conserve the fireflies and the mangroves of the
Philippines and worldwide.

www.csldi.com

130 / 131
Save the Date
20 & 21 November 2024
Join us at LiGHT 24, the UK’s only
trade show dedicated to high-end
lighting specification.

For those working in design, it’s the

best opportunity in the UK to explore
new products, access design talks, and
network with those across the sector.
Now into its third successful year,
LiGHT 24 will take place at the
Business Design Centre in London.
Join thousands of other industry
professionals for a fantastic two days
of design inspiration.

From the publishers of:

Where lighting and design unite