#ILLUMNI: lighting Design

[lokis-mischievous-writer]

Hotels in Niagara Falls are lighting up with hearts in solidarity with communities affected by coronavirus

Hotels in Niagara Falls are standing in solidarity with communities battling the coronavirus pandemic by creating what Canada’s tourism officials are calling the “Niagara Heart of Hope.”

Photo credit for hotel photos: Stephen King (except photo of Fallsview Casino)

#NiagaraFallsStrong 

 #heartsofsolidarity #FlattentheCurve #UnitedWeStand #forglowinghearts #canada @ Niagara Falls, Ontario

[photographerjackiechan]

The Goods Line, Sydney - Winner of Urban Design Award of 2017 #nswarchitectureawards. Beautiful subtle lighting effect at the entrance of the @frankgehry designed UTS's Dr Chau Chan Wing Building is the result of a close collaboration between WE-EF Lighting, @amazing_laands & @lightcultureaustralia. Urban space designed by @aspect_studios and @chrofi_architects • © 2016 • #architecture #lighting #light #design #townplanning #LandscapeArchitrecture #publicspace #urban #urbandesign #urbanplanning #sydney #haymarket #poletop #projector #streetlights by @we_eflighting.aus.nz #spotlight #illumni #lightingdesigner #luminaire #dezeen #archilovers #playspace #humancentric #peoplefirst #frankgehry #UTS (at The Goods Line)

[steventapia333]

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A post shared by Steven Tapia | Motion Designer (@steventapia_motiondesigner)

Still learning Cinema 4D @c4dmaxon . Experimenting with camera Animations, Lighting Mograph Effectors. Its been fun. I have to figure how to render this with the best Global illumniation settings. Animations I created for @Spotify singles video. #MotionDesign #Animation #VFX #Compositing #AfterEffects #Adobe #Mograph #GraphicsDesign #ArtDirection #KeyFrames #Compositing #MusicVideos #GraphicsDesign #Design #MotionGraphics #VisualEffects #Art #Magazines #Motionographer

[cococcchanel]

Illumni Lighting Design Jobs: Intermediate Lighting Designer MBLD, London: illumni-- The World Of Creative Lighting Design https://careerjugglr.tumblr.com/post/178534161302?utm_source=contentstudio&utm_medium=referral

[aggelemou]

Illumni Lighting Design Jobs: Intermediate Lighting Designer MBLD, London: illumni-- The World Of Creative Lighting Design https://careerjugglr.tumblr.com/post/178534161302?utm_source=contentstudio&utm_medium=referral

[friendsofthehoneybee]

(via Light pollution as a new threat to pollination : illumni – The World Of Creative Lighting Design)

[minmluniverse]

Character 19 of 25 named Illumni Drafts or Rejects #graphicdesigner #inktober #projectiillumina #minimal #drawing #art #project #work #illuminas #creativity #creative #design #light #artist #lightdesign (at Dallas, Texas)

[lokis-mischievous-writer]

VANCOUVER WATERFRONT PARK GRANT STREET PIER AND PLAZA HONORED WITH IALD AWARD OF EXCELLENCE

FISHER MARANTZ STONE CRAFTS ELEGANT LIGHTING SCHEME HONORING NATURE AND SURROUNDINGS

Luminaries of the lighting profession gathered for the first time online with the world to honor the winners of the 37th Annual International Association of Lighting Designers (IALD) International Lighting Design Awards, presented by Cooper Lighting Solutions. Twenty-one projects were on display from 8 countries—including exteriors, interiors, universities, museums, retail and places of worship. This year’s winners represent some of the most innovative and inspiring architectural lighting design work found anywhere in the world.

The design of the Vancouver Waterfront Park Grant Street Pier and Plaza in Vancouver, WA USA with lighting design by Fisher Marantz Stone, took home an IALD Award of Excellence.

Situated along a south-facing half-mile stretch of the Columbia River, the heart of the Vancouver Waterfront Park is a cablestay pier cantilevered 90 feet over the water.

The lighting design by the team at Fisher Marantz Stone supports and enhances this project’s artistic and structural nature and utilizes three fixture types. Floodlights with precise optics illuminate the sculptural mast that evokes the site’s nautical history. Low-level lights illuminate the pedestrian boardwalk and highlight the perimeter. And wall washers, carefully aimed to keep light off the water, illuminate the bulkhead to enhance the floating effect.

Designers paid careful attention to their impact on nature and surroundings. The uplighting strategy was reviewed with federal agencies, as the site falls within the flight path of the Portland International Airport and with the Audubon Society to ensure the impact on migratory birds was limited.

The Army Corps of Engineers provided calculations to illustrate negligible light on the water’s surface, so as to not disorient spawning salmon. Elegant in its simplicity, the Grant Street Pier provides a dramatic and dynamic visitor experience.

https://www.iald.org

[lokis-mischievous-writer]

Matrix (Stereo Heart) by Tatyana Ludanik

A light-dynamic audio installation for the skating rink of Gorky Park. Moscow.

Inspired by op art and visual illusions, the principal concept for the main installation for the ice rink in Gorky Park was ‘stereo’. Matrix (or StereoHeart) was situated in a fountain in the center of the ice rink and was surrounded by an ice path, so the most important task was to deliver different and changing visuals from every angle.

Matrix was an audio dependent installation, which constantly reacted to sounds (music on the rink, special concerts or DJ sets inside), creating a constantly changing picture in real time. The dynamic rhythm of the installation created patterns that changed to the beat of the music. These visual effects caused optical illusions blurring the line between what you see and what is actually there.

Concept: Tatyana Ludanik

https://www.ludanik.com/matrix-stereo-heart

[lokis-mischievous-writer]

THE UNIVERSITY OF SHEFFIELD CONCOURSE HONORED WITH IALD RADIANCE AWARD

ARUP UK TRANSFORMS BRUTALIST VIADUCT INTO COLOURFUL GATHERING SPACE

Luminaries of the lighting profession gathered for the first time online with the world to honor the winners of the 37th Annual International Association of Lighting Designers (IALD) International Lighting Design Awards, presented by Cooper Lighting Solutions. Twenty-one projects were on display from 8 countries—including exteriors, interiors, universities, museums, retail and places of worship. This year’s winners represent some of the most innovative and inspiring architectural lighting design work found anywhere in the world.

The highest point score winner across all entries, in addition to receiving an Award of Excellence for their project, received the IALD Radiance Award for Excellence in Lighting Design, the highest honor in architectural lighting design. This year, the IALD Radiance Award for Excellence in Lighting Design award goes to Arup UK for The University of Sheffield Concourse in Sheffield, England UK.

The team at Arup UK transformed a space in its most basic form by bringing light and color, positively changing the experience for the audience.

This brutalist concrete viaduct has been transformed into a colourful gathering space for students thanks to its innovative lighting scheme by Arup UK. The Concourse at the University of Sheffield is at the heart of campus life. However, throughout the years the Concourse became a transient “non-space” used for cycle parking, offering little enhancement to university life.

The brief was to create a space that encourages students to linger, facilitates external events, and celebrates the 1960s architecture. The simple elegant lines of the concrete structure demanded an uncomplicated lighting approach, treating each face as an individual element. Color was carefully selected to contrast surfaces and compliment materials while soft, direct white light is added at times when strong, saturated colors may affect the occupants’ experience.

“This is a beautiful example of color and light as place-making,” said one judge.

Much of the success of the project has been in the detailing of the complex interfaces not visible to the casual observer, delivering the clean lines of light that characterize the space.

Photos © Midi Photography/Arup

https://www.iald.org

[lokis-mischievous-writer]

WINNERS OF THE 37TH ANNUAL IALD INTERNATIONAL LIGHTING DESIGN AWARDS REVEALED

Luminaries of the lighting profession gathered online for the first time to honor the winners of the 37th Annual International Association of Lighting Designers (IALD) International Lighting Design Awards, presented by Cooper Lighting Solutions, the longest running and one of the most prestigious lighting design awards programs in existence. Twenty-one projects were on display from 8 countries—including exteriors, interiors, universities, museums, retail, and places of worship. This year’s winners represent some of the most innovative and inspiring architectural lighting design work found anywhere in the world.

IALD Awards Co-Chair Morgan Gabler, IALD, commented, “Every year we see an increase in the quality of entries and this year is certainly no different. Our seven-member panel of judges evaluate each project submission for demonstration of excellence across ten distinct areas in a rigorous and blind process.” IALD Award Co-Chair Mirjam Roos, IALD, added, “Projects recognised go beyond distinction in architectural lighting—we honor exceptional designs that evoke emotional responses, transform spaces, inspire awe, and bring real benefits to end users.” The highest point score winner across all entries, in addition to receiving an Award of Excellence for their project, received the IALD Radiance Award for Excellence in Lighting Design, the highest honour in architectural lighting design.

This year, the IALD Radiance Award for Excellence in Lighting Design award goes to Arup UK for The University of Sheffield Concourse in Sheffield, England UK.

The IALD Awards of Excellence are as follows:

The Keller Center – University of Chicago Harris School of Public Policy | Chicago, IL USA | AKLD Lighting Design, Ltd.

Kistefos – The Twist | Jevnaker, Norway | Light Bureau

Re-Lighting of Interior of Norwich Cathedral | Norwich, England UK | Speirs + Major

Royal Opera House | London, England UK | Studio Fractal

Tennessee State Museum | Nashville, TN USA | HGA

The University of Sheffield Concourse | Sheffield, England UK | Arup UK

Vancouver Waterfront Park Grant Street Pier and Plaza | Vancouver, WA USA | Fisher Marantz Stone

The IALD Awards of Merit are as follows:

160 Spear Street | San Francisco, CA USA | PritchardPeck Lighting

Free Library of Philadelphia | Philadelphia, PA USA | Lam Partners

Green Jadeite | Kaohsiung City | Taiwan (ROC) | Art Light Design Consultants, Inc.

H&M Flagship Store Façade Lighting | Oslo, Norway | ZENISK AS

International Presbyterian Church | Ealing, England UK | 18 Degrees

La Vie Ltd. Wine & Spirits Merchant | Taipei, Taiwan (ROC) | J.Y. Lighting Design

Microsoft Buildings 121 & 122 | Redmond, WA USA | Dark Light Design

Nihombashi Mitsukoshi | Tokyo, Japan | Lighting Planners Associates

RH New York | New York, NY USA | Sean O’Connor Lighting

Shanghai Waterfront – 25 Landmarks | Shanghai, China | Overall Project Design Fisher Marantz Stone, in collaboration with seven lighting design firms

Singapore Buddhist Lodge | Singapore | Light Collab

Zurich Innovation Center Givaudan | Kemptthal, Switzerland | Lightsphere GmbH

The IALD Special Citations are as follows:

Boston City Hall Renovation | Boston, MA USA | Lam Partners

Rain | Washington, DC USA | Thurlow Small, Inc

The IALD is appreciative of our esteemed panel of seven judges for the 2020 IALD International Lighting Design Awards. The judges include five IALD members at various experience levels, including an architect and interior designer: Susanna Antico, IALD, Milan, Italy; Mark Loeffler, IALD, Hamden, CT USA; Kevin Theobald, IALD, Wells-Next-To-The-Sea, UK; Bob Shook, FIALD, Chicago, IL USA; Diane McNabb-Rodriguez, Associate IALD, Charlotte, NC USA; Ed Seiber, Architect, Atlanta, GA USA; and Nolita Ryan, Interior Designer, Sydney Australia.

https://www.iald.org

[lokis-mischievous-writer]

Research Paper: Lighting Green Walls – finding the optimum CCT and SPD of white LED light sources.

Author: Dr. Amardeep M. Dugar, Lighting Research & Design

Introduction

The concept of using green walls in built environments is a multi-disciplinary application of biophilic design, where living plant systems are integrated with non-living building systems; it dates back to the Hanging Gardens of Babylon (1–5). A ‘green wall’ is a descriptive term used to refer all forms of vegetated wall surfaces, which can be further subdivided into two major categories: green facades and living walls (5,6). Green façade systems are composed of climbing plants or cascading groundcovers trained to cover specially designed supporting structures (7). Living walls are composed of pre-vegetated panels, vertical modules or planted blankets fixed vertically to a structural wall or frame; there are various forms of living walls, with the main differences occurring between designs for interior and exterior built environments (7). This small-scale qualitative pilot study focuses on the optimum illumination of green living walls within interior environments using white LED light sources.

The generic objective for most green wall projects has been the aesthetic and ornamental value relating to qualitative improvement of human experience as opposed to quantitative evaluation of materials and system performance (3,8,9). Measurable improvements to the human condition in terms of health, well-being and productivity have been reported by the use of green elements such as green walls in interior environments (10–14). Robust green walls however require appropriately specified: plants for geographic location and hardiness zone; growing medium to sustain the chosen plants; irrigation levels to meet watering and nutritional needs of plants; microclimatic conditions such as humidity, light and temperature (5).

Of the many resources required for growing and maintaining robust green walls within interior environments, light is one of the most important – apart from photosynthesis, it is required for several physiological processes in overall plant development such as photomorphogenesis and reproductive stage development (15,16). Additionally, insufficient lighting can cause stoppage of water intake by the green walls resulting in excess soil-water build-up, which may lead to toxic anaerobic environments breeding soil-borne pathogens, moulds, bugs, etc. as well as root rot (17). While natural sunlight has the perfect balance of fluence and wavelengths necessary for the growth of green walls, greater control over their growth and maintenance is possible by the appropriate use of artificial light (15,18).

The amount and ratio of different wavelengths from a light source in terms of correlated colour temperature (CCT) and spectral power distribution (SPD) determine growth and maintenance patterns of green walls. Agronomically, light-emitting diode (LED) technologies have the potential to cover fluence and wavelength requirements of green walls, while allowing specific wavelengths to be enriched, thus supplying the light quantity and quality essential for different phases of plant growth (18–20). The idea that plant growth under natural sunlight could be mimicked using blue and red LEDs has generally led to blue-red combinations being used for growing green wall systems: red (650-665nm) wavelengths perfectly fit with the absorption peak of chlorophylls and phytochromes; supplemented blue (460-475nm) wavelengths allow higher photosynthetic activity by providing better excitation of different types of photoreceptors (18,19,21,22). However, research confirms that specific blue-red spectrum LEDs used for functionalistic food production cannot be applied for the illumination of green walls: the spectrum enables fast growth for market consumption usually making plants appear unnatural; whereas illumination of green walls in an interior environment should help them grow at an appropriate speed, which reduces maintenance costs, and provides them with a natural appearance (23). Additionally, green walls will appear purplish grey under blue-red spectrum, which makes visual assessment of plant health difficult thereby negating their aesthetic and ornamental value (23,24).

This study argues that white LEDs normally used for architectural lighting applications offering all the main bands of wavelengths in the photosynthetically active radiation (PAR) spectrum (390-700nm) enable plant-growth at an appropriate biological speed, while rendering a natural visual appearance to green walls within interior environments (25). Photosynthetic photon flux (PPF) derived from the total amount of PAR has the most effect on plant growth as more PPF means more photons and more power, and is a parallel to lumens. Photosynthetic photon flux density (PPFD) determines the number of incident photons and is a parallel to illuminance. While keeping the illuminance and its consequent PPFD constant, the study aims to arrive at the optimum CCT and SPD for biologically- and visually-effective illumination of green walls. Biological effectiveness is assessed in terms of growth at an appropriate speed that reduces maintenance costs. Visual effectiveness is assessed in terms of natural appearance that is visually appealing to people.

Materials and Methods

Three identical green walls with six different plant species as listed in Table 1 were illuminated with three different CCTs/SPDs of white LED light sources as provided in Figure 1. The walls were illuminated for a period of 5 months from September 2019 to January 2020. Plant health in terms of leaf and stem growth patterns was monitored and documented at the end of the 5-month period. A total of 106 subjects in smaller groups of seven or eight were presented with this experimental set-up and expected to complete a questionnaire. The independent variable for this experimental setup is the SPD and CCT of the light sources. The starting point was a practical one having an SPD most commonly used in offices: 4000K. The second SPD had a warmer CCT sometimes used in offices but also hotel foyers and shopping malls: 3000K. The third SPD is less often used in these application areas, nevertheless fitting with the hypotheses that plants grow best and appear most natural under daylight: 5600K. The dependent variables are the plant-growth patterns and people’s responses towards the appearance of these plants.

Table 1: Six different species of plants used in the green walls

Figure 1: The three different CCTs and SPDs of LED light sources used in the experiment

The Apto family of track-mounted spotlights from LumenPulse AlphaLED as depicted in Figure 2 were specified considering the flexibility and installation requirements of the experiment. These luminaires are equipped with the Xicato Artist Series 5600K 5000lm daylight module running at 350mA, 4000K 1300lm and 3000K 1300lm modules both running at 700mA. Each luminaire consists of 60° wide-beam specular reflectors to ensure an even and smooth light distribution across the entirety of the green wall bays at an average efficacy level of 92lm/W. Two luminaires of each CCT/SPD were assigned for each of the three living walls leading to a total of eighteen luminaires.

The luminaires offer on-board dimming through DALI Pro. Mounted on three-circuit track, each luminaire was connected to a separate circuit, allowing for individual CCT/SPD grouping per green wall and seamless switching control during active demonstrations. Control was designed such that, during the visual assessments by test subjects, scenes could be recalled from a touch panel with a one-second fade-time. The scenes had all three walls being lit by each CCT/SPD, with an “All Off” scene between each for adaptation purposes. For all other times when visual assessments were not taking place, each wall was lit with a different CCT/SPD. A clock timer was used to switch on and off the lighting each day for a period of 12 hours between 7:00AM to 7:00PM.

Figure 2: Apto track-mounted spotlight from LumenPulse AlphaLED with 60° beam angle

The SPDs were analysed according to the ANSI/IES TM-30-18 and the results are listed in Table 2, in terms of the measured CCT of the sources, their colour fidelity and colour gamut. All of the sources have very good colour properties. The number of photons, in the band 400nm to 700nm, per 1000 light source lumens was also calculated. By convention the number of photons is expressed in mols, which is the total number of photons divided by Avogadro’s number. In the sources with the lower colour temperature have higher relative photon output, this was expected as lower colour temperature means more light at the longer wavelength end of the spectrum and thus lower average photon energy. The lower photon energy means there are more photons for a given radiated power.

Table 2: Light source properties

The green walls were installed within a confined room (3.5m by 3.2m) with no windows or external source of light at the University College London (UCL) HereEast Campus Building in London as depicted in Figure 3. The room used had been designed as a storage area with no ventilation or thermal control. Each wall was lit with a different colour of light source and for purpose of simplicity the walls are referred to as Walls 3000K, 4000K and 5600K.

Figure 3: Schematic layout of the three green walls arrangement in a confined room at UCL Here East

To allow the plants to grow, in a way expected in an interior, each of the walls was lit using a set of two track-mounted lights. The lights were mounted at a height of 2.5m and 1m away from the face of the wall as shown in Figure 4. The lights were aimed to create an illuminance of approximately 1200 lux on the vertical at the top of the wall and about 500 lux at the bottom of the wall. In this part of the experiment it was important that each wall only received light from a single set of light sources. To reduce the amount of inter-reflected light in the test room the floor was covered with dark carpet tiles. The worst problem with spill light was at the bottom of the walls; switching of the lights for a given wall and measuring the illuminance of the wall due to spill light from the other two tested this. After the mitigation, measures had been put in place the illuminance at the base of the wall due to inter-reflected light was 20 lux.

During this part of the experiment, the luminaires were run at full power for 12 hours per day and the room was in darkness for the other 12 hours. An additional display set up was used for the walls when the subjects were invited to appraise the walls. In this set up one set of two luminaires of each colour was aimed at each wall. During appraisals the colour of the light on each of the walls was the same and was achieved using the DALI controller to turn on the next scene.

Figure 4: Luminaire arrangement in the ceiling for lighting the three green walls

The intention of this experiment was to obtain feedback from subjects with appropriate educational and professional backgrounds in designing built environments so as to comprehensively review and comment on the naturalness and visual appeal of the green wall. Therefore it was decided to involve subjects with a design background such as architects, landscape architects, lighting professionals and students in the experiment. A selective sampling method was used where specific invitations were prepared and sent to a selected number of architects, lighting professionals and students. Additionally, by ensuring that all the 106 subjects who agreed to participate in the experiment given an identical treatment, the influence of any form of individual characteristics was eliminated. The experiments were conducted over a period of six specific days from 03 December 2019 to 29 January 2020 based on the availability of the subjects.

Figure 5: Subjects’ appraisals of green walls using a survey questionnaire

The subjects were asked to respond to each wall and lighting condition by completing a questionnaire as shown in Figure 5. A trial experiment of showing the walls to some subjects who did not take part in the main study and asking their opinions about the walls in a semi-structured interview further developed the questionnaire. The key issues found were naturalness and the appealing nature of the walls in the environment. There were a number of other terms that were also raised by the trial pool of subjects. Thus the questionnaire started with two questions set as bipolar semantics on a 5-point scale asking about naturalness and visual appeal of the walls. The other issues were addressed by the use of ten pairs of opposed adjectives. The adjective pairs used in the experiment are listed in Table 3. To reduce the possibility of bias the 20 words were arranged in a random block and subjects were asked to ring all of the adjectives that applied.

On arrival at the test site subjects were greeted with refreshments and brief introduction to the use of green walls. During the introduction the presenters spoke only in general terms and were careful not to give any details of the experiment to the subjects. The subjects visited the test room in groups of varying size from one person on their own to nine people at the same time. Before the subjects entered the test room the lighting on all walls was set to the first colour temperature for the test. When all of the subjects had appraised all three walls, the lighting was dimmed and turned off for about 15 seconds, after which lighting with the next colour temperature was dimmed up. The appraisal of the walls was carried out again and the lighting changed again and then the final appraisal was carried out. The order in which the light sources were used was randomised.

Table 3: Pairs of opposed adjectives

Results and Analysis

The results are broadly classified under biological effectiveness in terms of plant health, and visual effectiveness in terms of peoples’ responses towards the lighting of the green walls. Out of the 106 participants surveyed for this experiment, 39 are practicing architecture professionals, 51 are practicing lighting professionals, and 16 are students. Age and gender of the subjects were not recorded, as these were not considered as criteria for assessment.

Table 4: Average leaf health of the six plant species after five months of experimentation

Biological effectiveness was assessed both in terms of leaf and stem health. Leaf health was assessed based on a comparative qualitative rating scale of 0 to 4: 0 correlated to a plant with completely dry leaves; 4 correlated to a plant with green leaves. Each of the plant species was assessed individually based on this rating scale and then the rating was averaged for each species mounted on each wall. The average leaf health of all the six plant species for each of the three walls after five months of experimentation is listed in Table 4. Species B, D and F reported the greenest leaves, while species C reported the driest leaves across all the three walls. Almost all the plants of species C had withered. On an average, Wall 5600K reported the greenest leaves across all species.

Table 5: Comparative growth patterns of the green walls before and after the five-month experimentation period

Table 6: Average stem health of the three walls after five months of experimentation

Stem health was also assessed based on a comparative rating scale of 1 to 3: 1 correlated to the plant wall with the longest and unhealthiest stems; 3 correlated to the plant wall with the shortest and healthiest stems. Instead of measuring each individual plants, it was decided to measure the overall plants overhangs for each wall from four different heights i.e. 350mm, 700mm, 1050mm and 1400mm from the base of the wall. These three lengths were then averaged and the wall the shortest overhang was assigned 3, while the wall with the longest overhang was assigned 1. Wall 5600K reported the shortest and strongest stems, while Wall 3000K reported the longest and weakest stems. The comparative growth patterns of the green walls before and after the five-month period of experimentation are depicted in Table 5. The average stems health of the green walls before and after the five-month experimentation period is depicted in Table 6.

Visual effectiveness was primarily assessed based on the naturalness and appealing nature of the green walls. Figure 6 and Figure 7 represent the distribution patterns of the participants’ responses for naturalness and visual appeal respectively on a scale of 1 to 5. Participants demonstrated an inclination towards 4000K for both naturalness and visual appeal, as the green wall illuminated with 4000K received the highest scores as shown in Table 7. A lexical analysis of the adjectives used to describe the lighting of the green walls are listed in Table 8, which again demonstrates an inclination towards 4000K for a healthy and natural appearance of the plant walls.

Figure 6: Naturalness distribution of participants’ responses for the three walls

Figure 7: Visual Appeal distribution of participants’ responses for the three walls

Table 7: Average score on naturalness and visual appeal for the three walls

Table 8: Lexical analysis of the adjective use counts for the three walls

Discussion

Growth and health of green walls in controlled artificial environments to a large extent is dependent on the types of plant species used in the green wall design. Out of the six plant species monitored under identical experimental conditions, three (B, D, F) demonstrated good growth, two (A, E) demonstrated average growth, while one (C) demonstrated bad growth. Popular belief that high illuminance levels e.g. 5,000-10,000lux ensure growth and health of green walls can be questioned as reasonably well plant growth patterns were observed in this study under average illuminance levels of 1100lux. Warmer CCT and red spectrum cause unhealthy stem elongation, which is more prominent in the green wall illuminated with 3000K. In general for green walls, 5600K is most suitable for controlled growth and health, while 4000K is most preferred by people for naturalness and visual appeal. Therefore the main discussion point drawn from this pilot study involves a blend of 4000K and 5600K to achieve a biologically – and visually – effective illumination of green walls. Blending could imply various options ranging from the development of a dedicated single output LED module, time based SPD changes via a tunable white module or a blended lighting design using two different light sources, 4000K and 5600K.

Next Steps

The obvious next steps for this study are to firstly, experiment with just such a blended solution as is discussed above, and possibly a timed approach with tunable white solutions. With controls and tunable light sources playing a major role in all future solutions, it might be worthwhile to test such tunable solutions to achieve biologically- and visually-effective illumination of green walls. And secondly, to experiment on a larger scale with a more focussed species of plant types that are more robust for interior green wall applications. Additionally, a larger group of survey participants from the general public need to be involved so as to obtain feedback representing a broader cross-section of the general public.

Research Paper by Dr. Amardeep M. Dugar, Lighting Research & Design

Acknowledgements

The following authors contributed to this paper:

Morris Costello, Lumenpulse AlphaLED David Gilbey, NDY Light Rick McKeever, WonderWall Peter Raynham, UCL Roger Sexton, Xicato

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[lokis-mischievous-writer]

into Light 14 Hills, London

into were appointed to work alongside interior designers Robert Angell Design International for clients D&D London on the launch of their new restaurant, bar and deli venture in London. Situated in the heart of the square mile within the newly developed 120 Fenchurch Street. With its panoramic views across London, 14 Hills offers an all-day dining destination that transitions throughout the day: from the daytime grab and go deli, to lunches in the restaurant, afternoon tea and after-work cocktails in the bar, before the sun sets on a sophisticated dinner in the restaurant. The design conveys an opulent, stylish aesthetic with a warm and inviting atmosphere, conjuring the refined essence of a lush garden.

The design is bathed in a rich colour palette combined with an abundance of foliage; a canopy of evergreen plants, seasonal climbers amongst the pergolas, shrubs and low-level planting of various types throughout.

The lighting design brief

into were briefed to provide a theatrical and layered lighting scheme within the venue which comprises of a restaurant, bar, PDR and deli across the atrium. The lighting was to enhance the space both throughout the day and progressing into the night, to compliment the function of each space whilst creating intimacy within each area of the site. The illumination within the venue was key to highlight the plush and refined finishes of the various materials used for the interior design, illuminate and enhance the abundance of planting within the space whilst a series of bespoke decorative light fixtures were to be designed to provide ambient illumination along with key focal points throughout. The control of the lighting was to be a careful consideration within the design to ensure smooth and low-level dimming within the various scenes throughout the venues opening hours.

All light sources were to be LED fixtures offering a high quality of light, warmth of colour temperature and smooth low level dimming.

The way in which the solution was produced

The restaurant is accessed via lifts from the ground floor of the development. On exiting the lifts on the 14th floor there is a staircase in front which leads to the roof garden with the restaurant on the left and the deli located on your right. To enhance this area planting is located in front of the restaurant entrance which is illuminated via spike mounted adjustable spotlights. These fixtures are bespoke manufactured to be powered by rechargeable batteries as there was no the infrastructure to get any cabling out to this area.

On entering the venue itself the reception desk is the first element to greet the customer, this has been illuminated with a series of concealed linear LED details to provide subtle illumination to the front of the desk and providing a gentle glow to the meet and greet staff. Carefully highlighted planting within the threshold is located to mask views to the restaurant beyond and give a taste of what’s to come.

On entering the bar area, customers are drawn to the internally illuminated golden suspended dome above the bar, with a series of textured bespoke pendants within that are located above the glowing bottle steps in the centre of the bar.

Concealed linear LED gently washes the front of the bar with a further concealed detailed within the bar top providing working light for the staff. Bespoke hard-wired tabled lamps situated on the bar top provide a supplementary layer of illumination and add a warmth to this area.

Seating to the bar area on the left and the right of the bar is provided below timber geometric structures with a mirrored backdrop. The table illumination comes via discreet track mounted adjustable spotlights above the timber, while concealed linear LED within planting behind the banquette seating provides a subtle low-level glow and helps these areas feel intimate and cosy.

The main dining space is to the left of the bar comprising tables nestled under pergolas and between trees and planting. Bespoke suspended pendants scattered throughout provide a layer of ambient illumination and key focal points whilst not detracting your eye from the stunning views across London.

The tables are illuminated with narrow beam adjustable spotlights with a series of filters to warm the light and enhance the look of food offering on the plates. Honeycomb louvres within help with glare control and the track mounting allows for flexibility when tables are moved into different configurations. As the day transitions into the evening the tables are then adorned with bespoke LED rechargeable table lights. The warm LED light source and ivory fabric shade add intimacy to the tables and the diners.

The abundance of planting and trees throughout helps to create pockets of privacy and creates a feeling of the outdoors. Planting is illuminated via a series of spike mounted adjustable LED spotlights at low level with another layer of track spots provide lighting from above. A slightly cooler colour temperature was chosen for the planting to enhance the lush green colours of the foliage.

An internally illuminated wine fridge delivers a key focal point further down the restaurant whilst a series of internally illuminated suspended planters around the perimeter adds a further level of illumination and draws your eye to the views beyond the windows.

A cosy private dining room is situated in the far corner of the restaurant which is accessed via a corridor past the kitchen. Bespoke picture lights illuminate the artwork while a series of pendants lead customers down the corridor to the PDR beyond. The PDR itself is illuminated via a concealed linear LED within the ceiling coffer with adjustable downlights focused onto the table top. Low level lighting to the planting and a further bespoke picture light to the artwork add additional layers of light whilst not detracting from the views through the glass on two sides of the room. 

Concealed linear LED lighting within the WC ceiling rafts provide a warm ambient glow whilst bespoke wall lights located between the mirrors provide functional illumination of patrons.

The result

The client D&D London feel Into have achieved a dramatic, sophisticated and layered lighting scheme for the restaurant, utilising LED sources which provide a high quality of light with a warmth of colour temperature. Post dusk the lighting scenes evolve to create a highly theatrical, yet intimate environment.

Project details:

Project: 14 Hills Location: London Client: D&D London Interior Designer: Robert Angell Design International Lighting Design Into Lighting Project Manager: PSE Associates Main Contractor: McCue M&E Consultant: Lehding Electrical Contractor: BES Photographer: Gavriil Papadiotis

Architectural light fitting spec

Light Graphix – Planter lighting – LD51 / LD10238 Enigma Lighting – Track spotlights, downlights, LED tape – Darklight GU10 / Tubular 60 GU10 / View 50 / FlexiLED-Plus Soraa – Vivid GU10 / Various snap accessories Powergear – Lighting track TM Lighting – Bespoke picture lights Hunza – Planter lighting Neoz – Rechargeable table lamps Mode Lighting – Tiger dimming system Mackwell – Emergency lighting Zico – LED filament lamps

Decorative lighting

Illumination – Bespoke lighting Richard Taylor Designs – Console table lamps Melodi Home – Lampshades

www.into.co.uk