Harvesting Daylight
2012 IESANZ LuDA Awards
New horizons for organic LEDs
Daylight for art’s sake
110 year old building seen in a new light
Health benefits of daylighting
February/MarcH 2013
Aust
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contentsFEbruAry/MArch 2013
10 2012 IESANZ chapter Luminaire Design Awards
Compiled by Warren Julian
25 Musée du Louvre-Lens – daylighting for arts sake
By Dr Phillip Greenup
30 110 year old building seen in a new light!
By Michael Warwick,BBSC, TECH IES
36 New horizons for organic LEDs By Claire Thompson
42 health benefits of daylighting By Michael Warwick,BBSC, TECH IES
03 Subscription form
06 From the Editor
08 President’s Message
09 IES corporate Members
46 IES updates + Posts
47 Events calendar
52 Lighting Suppliers Directory Profiling companies & lighting solutions
2 LIGHTING MAGAZINE | February/March 2013
s t o r y N a m e
Illuminating Engineering Society
of Australia and New Zealand Ltd
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University of Sydney NSW 2006, AUSTRALIA,
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Volume 33, Issue One
February/March 2013
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4 LIGHTING MAGAZINE | February/March 2013
dR PHILLIP GREENUP
Dr Phillip Greenup is a senior lighting designer with broad international
experience who brings together design and technical expertise in natural
and electric lighting.
C o N t r i b u t o r s
CLAIRE THOMPSON
Claire has been working as a writer, editor and communicator for over
10 years. She has extensive experience in the health, education and
R&D sectors and has worked as both a corporate communicator and
creative writer. A keen reader of everything from poetry to technical
manuals, Claire approaches her writing and editing work with the belief
that everybody has a story worth telling. She is currently writing extensively
on research and technology development and commercialisation for
organisations that include the University of Technology Sydney and
Gemaker. She has lived and worked in Canberra and Montreal and is now
based in Sydney.
MICHAEL WARWICk
Michael Warwick is an Associate at Stephenson & Turner New Zealand
Limited. He is responsible for lighting and environmentally sustainable
design within the building services section. He also designs and specifies
electrical services, communications and audio visual control systems for
commercial and institutional buildings.
6 LIGHTING MAGAZINE | February/March 2013
f r o m t h e e d i t o r
Welcome to 2013. Lighting has had a bit of a facelift with this issue. The theme of this issue is daylight harvesting, to which I’ll return. There are three features on the topic. The other harvests we have include advances in the world OLEDs, student successes in their studies, IES awards to individuals and other honours, including an OAM to Russell Loane, Chair of the Lighting Council and past IESANZ President.
After harvesting, threshing and winnowing, the IESANZ has announced the winners of the Luminaire Design Awards for those chapters that conducted them in 2012 and you can see them all on later pages. My threshing of or more correctly, my thrashing about in the mountain of copy for the Lighting Design Awards in the December issue resulted in my incorrectly showing Knox Church in Christchurch (page 15) as receiving a commendation rather than an Award of Excellence; I apologise to the designer, Kevin Cawley, for my error.
The theme of this issue is daylight harvesting. This form of “harvesting” has recently joined the lexicon along with rainwater harvesting. The “harvesting” gives the impression that it is something other than collecting and storing rainwater. Before reticulated water, that’s what people did as an alternative to dying of thirst. Until the advent of abundant electric lighting in the 1950s, all non-residential buildings had to “harvest” daylight. There were the design concepts of PAL and PSALI; PAL was the permanent artificial (electric) lighting of buildings and PSALI was the permanent supplementary artificial lighting of buildings. Both acronyms imply that the assumption was (until then) that the primary light source for non-residential buildings was daylight. In the UK,
there was and still is the legal right to (day)light. Architecture was predicated on getting daylight into interiors. The flying buttresses of gothic cathedrals were developed to allow greater daylight penetration than was possible with solid buttresses. This allowed higher and larger cathedral interiors. Offices had high ceilings, lightwells and shallow rooms. Factories had various forms of sawtooth and clerestory roofs. All of this disappeared with the tubular fluorescent lamp and HID lamps. Floor plates became larger and ceilings crept down to their ergonomic minima and PAL became the only way of lighting by day. Windows provided little useful light (but a lot of sky glare) and factories became portal frame, opaque, metal boxes.
As with many green initiatives or discoveries, daylight harvesting is not new. Only the name is new but in most cases now, it is more difficult to achieve other than trivial energy savings. That is because daylighting is usually designed after the major architectural (or developer) decisions have been made regarding building form, plate areas, ceiling heights and the use of rooflights. I have argued previously that lighting designers (ie, people who design with both daylight and electric light) should be involved from the beginning of projects.
For those who follow the Chinese zodiac, we have just entered the year of the snake. In Australia, 2013 might be the “year of the snake in the grass”, since it is an election year, full of green and thousands of other promises for the gullible to believe.
I hope you enjoy the daylighting and other features and that 2013 is a great one for the lighting community.
Warren JulianEditor
A bumper harvest of daylight, awards and honours
8 LIGHTING MAGAZINE | February/March 2013
i e s C o r p o r a t e m e m b e r s
3S Lighting Pty Ltd New South Wales
3S Lighting Pty Ltd Queensland
Adelaide City Council South Australia
AECOM Australia Pty Ltd New Zealand
AECOM Australia Pty Ltd South Australia
AECOM Australia Pty Ltd Queensland
AECOM Australia Pty Ltd New South Wales
AECOM Australia Pty Ltd Victoria & Tasmania
AECOM Australia Pty Ltd Western Australia
Alternative Lighting Queensland
Ampcontrol Burn Brite Pty Ltd Victoria & Tasmania
ANL Lighting Australia Pty Ltd Victoria & Tasmania
Belltronic Lighting Solutions Queensland
Brisbane City Council Queensland
Concept Lighting New Zealand
Cundall Johnson & Partners Victoria & Tasmania
Custom Lighting – designers of light Pty Ltd Victoria & Tasmania
Digilin Pty Ltd Queensland
Domus Lighting Pty Ltd New South Wales
Eagle Lighting Australia New South Wales
Eagle Lighting Australia Victoria & Tasmania
Eagle Lighting Australia Queensland
ECC Lighting & Living – VIC Victoria & Tasmania
ECC Lighting + Living Ltd – NSW New South Wales
Eco-Lightech Solution Ltd New Zealand
eCubed Building Workshop New Zealand
Fagerhult NZ New Zealand
Frend Lighting Industries Pty Ltd Queensland
Gamma Illumination New South Wales
GHD - NSW New South Wales
GM Poles Queensland
Harcroft Lighting – NSW New South Wales
Hawko Lighting Group Australia Pty Ltd Queensland
Inlite New Zealand
International Lighting New South Wales
Intralux Australia Pty Ltd Queensland
Irwin Consult Pty Ltd Victoria & Tasmania
Irwin Consult Pty Ltd South Australia
Jadecross Pty Ltd New South Wales
JHA Consulting Engineers Pty Ltd New South Wales
John Mclnnes Agencies Pty South Australia
JSB Lighting Pty Ltd New South Wales
Klik Systems Australia Pty Limited New South Wales
Klik Systems QLD Queensland
Klik Systems’s agent – H.I Lighting S.A South Australia
Klik Systems’s agent – H.I. Lighting Western Australia
Klik Systems’s agent – Mark Herring Lighting New Zealand
Klik Systems’s agent – Southern Lighting & Distribution Victoria & Tasmania
Lighting Australia Pty Ltd New South Wales
Lighting Design Partnership Pty Ltd New South Wales
Lightmoves Pty Ltd Victoria & Tasmania
Lights Lights Lights Victoria & Tasmania
Lumen8 Architectural Lighting Queensland
Megabay Lighting Enterprises Queensland
Metera Lite Western Australia
Mondoluce Western Australia
Opal Lighting Systems New South Wales
Optic Fibre & LED Lighting Solutions Pty Ltd New South Wales
Orca Solar Lighting Pty Ltd Queensland
Orion Solar Pty Ltd Queensland
Osram Western Australia
Osram South Australia
Osram New Zealand
OSRAM Australia Pty Ltd – NSW New South Wales
Osram Australia Pty Ltd – QLD Queensland
Osram Pty Ltd – VIC Victoria & Tasmania
Philips Lighting Queensland
Philips Lighting South Australia
Philips Lighting New South Wales
Philips Lighting Western Australia
Philips Lighting – NZ New Zealand
Philips Lighting – VIC Victoria & Tasmania
Sill Lighting Australasia Pty Ltd New South Wales
Solus Lighting Solutions Queensland
Stramac Pty Ltd New South Wales
Sylvania Lighting Australasia Pty Ltd – SA South Australia
Sylvania Lighting Australasia Pty Ltd – VIC Victoria & Tasmania
Sylvania Lighting Australasia Pty Ltd – WA Western Australia
Sylvania Lighting Australasia Pty Ltd – NSW New South Wales
Sylvania Lighting Australasia Pty Ltd – QLD Queensland
The Lighting Group New South Wales
The Lighting Group – QLD Queensland
The Lighting Group – VIC Victoria & Tasmania
Thorn Lighting Victoria & Tasmania
Thorn Lighting – SA South Australia
Thorn Lighting Ltd – NZ New Zealand
Thorn Lighting Pty Ltd – NSW New South Wales
Thorn Lighting Pty Ltd – QLD Queensland
Thorn Lighting Pty Ltd – WA Western Australia
Total Electrical Connection Pty Ltd New South Wales
Tridonic Australia Pty Ltd Victoria & Tasmania
Tridonic Australia Pty Ltd New South Wales
Valley Lamps & Lighting Queensland
Visual Lighting International Pty Ltd Western Australia
Vossloh-Schwabe Deutschland GMBH New South Wales
Walter Wadey & Co Pty Ltd New South Wales
Webb Australia Group New South Wales
Webb Australia Group Queensland
Webb Australia Group Victoria & Tasmania
WSP Lincolne Scott (Sydney) New South Wales
York Precision Plastics New South WalesFINANCIAL CORPORATE SPONSORS AS OF FEBRuARY 2013
February/March 2013 | LIGHTING MAGAZINE 9
p r e s i d e N t ’ s m e s s a g e
Welcome back to 2013, the Chinese Year of the Snake and I’m afraid I shall need a little time to process that piece of information into my western sensibilities. I hope that you all passed through the holiday season more or less unscathed. Unfortunately, I have picked up some extra weight and an almost hypnotic addiction to Game of Thrones, and not just because of the naughty bits.
As to the board, we have commenced our activity cycle for 2013 with ongoing commitment to SPARC 2013 and preparation for the 1st board meeting of the year on 1st March. One of the key issues before the board currently is that of education and how best to make that more widely available throughout Australia and New Zealand. The Enlightenment program formulated to provide entry level lighting education has been very successful and plans are underway to review the material it contains to ensure it remains current in an environment rich in ever changing technology.
As for higher education in lighting the current capabilities of delivering the standard the society accepts for TechIES and hence MIES and higher grades within Australia are largely concentrated in the eastern states. These courses are through Sydney University, RMIT in Melbourne and QUT in Brisbane. New Zealand provides its higher level course through Massey University in Auckland. All the details for these institutions are on the website. Whilst it is good for the society to have such courses available it does leave both South Australia and Western Australia without an acceptable course, a situation of which the board is acutely aware and are working toward suitable solutions for these states. This will be a major focus for the board in the months ahead.
Also before the board is a review and redrafting of the code of ethics, and, the formation of a special committee, the disciplinary committee. Their purpose is to review complaints of breaches of ethical standards and make recommendations for disciplinary action. Let me make it perfectly clear that the IESANZ is not going to become the lighting police. There is sufficient expertise and contractual frame work in place to deal with faulty products and failing to meet design parameters.
The society’s intensions are to put in place clear ethical standards by which it expects its members of all grades to avail themselves of and abide by. A breach of these standards would be typified by representing yourself as an MIES when you are not. If you have any doubt about what post-nominal your grade of membership permits may use I suggest you review the Guide to Membership on the website. The society puts great faith in its MIES and higher grades, and for the most part that faith is reciprocated by appropriate and diligent conduct. It would be a great pity if any of the membership grades, but particularly MIES and above, are not seen as a readily recognised and accepted demonstration of competency.
Many people within the society over the years have worked extraordinarily hard to win the acceptance of lighting design as a discrete discipline, with its own, unique set of skills and knowledge base that is worthy of inclusion within the design professions. It would be even more disappointing should any of the societies members fail to recognise the responsibility we all share in preserving and elevating that reputation. I realise that ‘doing the right thing’ is not always easy or a simple choice to make, but, it is by definition, the right thing to do.
Barry GullPresidentIES: The Lighting Society
An educated start to the New Year; preserving the value of IESANZ membership
10 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 11
2 0 1 2 L u d a a w a r d s
2012IESANZ Chapter
Luminaire Design AwardsCOMPILEd by WARREN JULIAN
The IESANZ Luminaire Design Awards program has waxed and waned with the opportunities available for major projects and innovation. The awards program is designed not as a competition but as a vehicle for recognising commendable and excellent design. Entries are solicited each year or each other year in the smaller chapters. The entries are assessed by judging panels in each chapter, using guidelines set by the IESANZ Board. What the judges are looking for when they review these products is innovation, something that takes a leap over beyond common practice and that points to where the luminaire industry is heading. The entries listed below received either Commendation or Excellence Awards. In addition, for NSW there are awards for Light Sculptures (produced for Vivid Sydney) and a Student Luminaire Design Award (also associated with Vivid Sydney).
12 LIGHTING MAGAZINE | February/March 2013
The Gamma 1065 recessed LED downlight
The Aurora surface mount luminaire
The DOT9200
The DOT9200 has two high efficiency custom designed reflectors producing
38° and 73° beam angles to maximise spacing and performance. The heat sink
encompasses the luminaire, reducing the overall height to 150mm. The Cree
XM-L LED engine is recessed 85mm into the downlight resulting in 50° beam
cut-off to control glare. It incorporates the patented DOT AXLock system,
which allows a selection of accessories to be attached to the downlight after
it is installed. It also allows for the height of ceiling plates and any accessories
(including 5mm thick glass) to be supported by the vertical section of the
downlight bezels. As a result, the horizontal sections of the bezels, ceiling
plates and accessories have been significantly reduced in height to give an
unobtrusive, minimalist appearance. The DOT 9200 utilises the DOT design
philosophy of common, interchangeable components which fit together to
produce the downlight. The result is faster construction time, better quality
control and more competitive pricing. It also allows for easy replacement
of drivers and LED modules to permit future upgrades to these and other
components. Judges’ comments: Great construction with quality components
and thermal management. Excellent innovation from New Zealand designers
and supporting the Made in New Zealand brand.
AWARd OF COMMENdATION TO FRANk AUSTIN, NIMbUS LIGHTING
GROUP FOR THE dOT9200 LEd PERFORMANCE SERIES
AWARd OF COMMENdATION TO dAvId CALAbRO OF
GAMMA ILLUMINATION FOR GAMMA 1065 RECESSEd LEd dOWNLIGHT
The Gamma 1065 was born from specific needs to achieve perfect uniformity
on merchandise shelving with its unique dual function reflector design.
Judges’ comments: This luminaire with its use of LEDs and reflector design
gives a very good and uniform light output pattern. With its good looks and
the way the heat sink was designed it achieves the results required.
N e w s o u t h w a L e s C h a p t e r
N e w Z e a L a N d C h a p t e r
AWARd OF COMMENdATION TO TEvOR MURRAy, ENLIGHTENz
FOR THE AURORA SURFACE MOUNT LUMINAIRE
The Aurora is a high performance surface mounted linear fluorescent and
LED luminaire system for lighting installations in offices, banks, schools, shops
and other commercial buildings. The brief was to: provide a T5 fitting with
a UGR of less than 19; achieve competitive pricing; provide prototypes, test
results and proof of quality within only two months and to deliver an elegant
and robust product that exceeded architectural and ministry of education
expectations. The surface mount luminaire has an LOR of 0.97 for the 2x28W
version and combined with excellent glare control makes it unique in the
world market. Judges’ comments: Great glare control and lateral distribution.
Well designed and engineered for the New Zealand Market. Again excellent
innovation from New Zealand designers and supporting the Made in New
Zealand brand.
L E D P R O F E S S I O N A L S E R I E S
L E DD O W N L I G H T
1065MANUFACTURED IN AUSTRAL IA
MIN IM IS ING YOUR POWER CONSUMPT ION
MAX IM IS ING I L LUMINAT ION FOR STR ICT BCA STANDARDS
Unique square Double Batwing
light output
www.gammaillumination.com NSW (02) 9822 7333 / VIC (03) 9801 7777 / QLD (07) 3806 4466 / SA (08) 8260 1444 / WA (08) 9377 1322 / ACT (02) 6241 1388
B O R N T O P E R F O R M 30W – 60W
14 LIGHTING MAGAZINE | February/March 2013
Systems™
LINEAR ENLIGHTENMENT BY KLIK kliksystems.com
IP66systems
A4 Ads.indd 5 23/10/12 3:58 PM
AWARd OF COMMENdATION TO bEN SCOTMAN
OF kLIk SySTEMS FOR MULTIbEAM
The multibeam series is a range of
slim luminaires with high LORs created
with a clean uncluttered minimalist
design in widths of 75, 95, 115 and
175mm. Judges’ comments: The
way this range of luminaires were
designed to limit the dark regions at
the junctions of lamps and the overall
design and versatility makes this a very
good series.
The Multibeam
AWARd OF COMMENdATION TO
JAMES LAURENdAT OF kLIk SySTEMS
FOR 65 bEAM LEd RGb/W dMX
The 65 beam LED RGB/W DMX comes in two types of fittings, the smaller fitting has 4 RGBW LEDs and a single
DMX address and the larger fitting consists of 2x5 RGBW LEDs and has 2 x DMX addresses and has been custom
built to meet projects briefs. Judges’ comments: The use of RGB plus white LEDs along with the use of DMX
system and clever design has given the project that was designed for Commonwealth Bank Darling Harbour an
stunning effect and is well worthy of an award.
The 65 Beam LED RGB/W DMX
AWARd OF EXCELLENCE TO THORN LIGHTING FOR THE GLAdIATOR
Gladiator is a specialised high impact resistant
luminaire with a unique Safe-T locking system for
harsh environments with die-cast aluminium body
and a vandal resistant heavy duty polycarbonate
diffuser. Judges’ comments: The work that has
gone into designing the safety locking mechanism
along with the selection of materials and overall
design makes this an excellent design.
The Thorn Gladiator
February/March 2013 | LIGHTING MAGAZINE 17
The Centus high bay luminaire
Tiffany chandelier
Decorative Pendant
16 LIGHTING MAGAZINE | February/March 2013
AWARd OF COMMENdATION TO dAvId WHITFIELd OF ENLIGHTEN AUSTRALIA ANd
JOHN PHILPOTT OF LEdTEk FOR CETRUS – LEd HIGH bAy ANd LOW bAy
AWARd OF COMMENdATION
TO MICHELLE dONdE OF
dIFFUSE GLASS LIGHT WORkS
FOR dECORATIvE PENdANT UTILISING
A SELF CONTAINEd LEd PROJECTOR
Dean Phillips was approached by leading jeweller Tiffany
& Co to discuss a luminaire design for their new flagship
Melbourne store. Tiffany had signed Probuild to build
the store and were proposing an Italian glass chandelier
supplied from China. It had 1500 pieces of glass and
weighed 1.6 tonnes. Tiffany & Co supplied their ‘Tiffany
blue’ colour for matching. Numerous samples were made
and tested with the proposed LED source to achieve the
desired colour. The amount of the blue coloured glass
was varied in the individual pendants to achieve the
organic effect; a section was unlit to give more variation.
The finished store is simply beautiful – at its centre is the
Tiffany chandelier. The design comprises 497 hand blown
glass pendants. Each piece is individually lit with its own
custom engineered LED light source. The chandelier’s
drop is from the mezzanine level down to the ground
floor. A mirrored ceiling plate was used to create the
illusion that the chandelier continues into infinity. Its total
weight is >1000kgs. Cleaning is by lifting pieces to the
mezzanine and wiping on the outside twice a year.
Judges’ comments: The stunning visual impact and
suitability for its location were contributing factors in the
Judges decision also noted was its innovative use of LEDs.
This decorative pendant uses LED as projectors to concentrate
light on a patterned glass surface which then casts crisp shadows
on to a given surface. Judges’ comments: The use of LEDs and a
specially formed glass design give a stunning effect to the ceiling
and is a good use of a light art.
V i C t o r i a N C h a p t e r
AWARd OF COMMENdATION
TO dEAN PHILLIPS
FOR TIFFANy CHANdELIER
Cetus is a range of IP65 rated LED high bay
and low bay luminaires of modular design
with a central, one-piece heat sink and fully
enclosed plastic side rails and stylised ends.
Judges’ comments: The Cetus range of LED
high/low bays with is very distinctive and stylish
design along with the ability to incorporate
a RF transceivers to switch off or be dimmed
when no one is in the vicinity is a great benefit
to our environment.
February/March 2013 | LIGHTING MAGAZINE 1918 LIGHTING MAGAZINE | February/March 2013
The Crown Void chandelier installation
The Swanston Street Plasma luminaire
The Crown Lobby chandelier
Coolon CP9 luminaire
AWARd OF EXCELLENCE
TO CITy OF MELbOURNE
FOR SWANSTON STREET
PLASMA LIGHT
Designed and manufactured in Australia, the CP9 LED luminaire is
designed for mobile plant machinery, such as haul-trucks, dozers and
excavators. Primarily, the CP9 will be used on machines to provide forward
facing and rearward illumination in quantities of 8-12 luminaires with varying
optics and positioned/aimed to suit the size and function of the machine.
The CP9 was developed to improve upon existing halogen/xenon work-
lights commonly fitted on mining machines; the high power LED luminaire
provides superior luminous output in a compact size enclosure. Using
LEDs in mining applications offers many advantages, one of which is little
or no maintenance cost for the life of the luminaire, which has an expected
life of 50,000 hours (within the operating temperature range to 70%
residual light output). LEDs are immune to shock and vibration, common
on many mobile plant machines, whereas discharge lamps are not,
resulting inlamp replacements every 300-1000 hours. Discharge lamp life
is also affected by their burning position but LEDs are not. The CP9 is also
available to the architectural and commercial sectors with modified colour
temperatures and exterior powder coating colours. Judges’ comments:
Noted for its thorough attention to detail, engineering and suitability for
purpose, this fully integrated design is a great example of expertise in
Luminaire production.
This is a narrow tapered luminaire with slump glass. The plasma lamp and
gear are contained in a die cast heat sink at the top. The base is die cast
aluminium. The Swanston Street Light utilises a LUXIM 256W plasma source,
with a life of 12 years and can be dimmed. Judges’ comments: The Judges
felt the Swanson St Plasma light was a excellent example of integrating
new technology with a stylish and innovative appearance, also noted was
the research, development and implementation process completed in a
remarkably tight deadline.
AWARd OF COMMENdATION TO COOLON FOR CP9 LEd LUMINAIRE
The chandelier occupies the high, former Crown Entertainment Centre Sports
Bar space. It was designed to draw the eye upward to the next floor and
capture the attention of people transiting between upper and lower levels
and various function spaces. Its commanding presence is achieved by an
unusual combination of interlocking timber arms producing a complex array
of criss-crossing reflections from linear LED light sources. This interaction
is multiplied across the three tiers of the chandelier making an amazing
display of direct and indirect light; diffusers and silver satin reflectors
highlight and shadow throughout the timber form. The timber has been
especially stained to catch light and emphasise its grain. As light sculpture
it is a remarkable achievement of structural ingenuity; all cantilevered from a
central hollow core. High-powered LEDs were diffused to look like stripes of
light articulating the timber arms. Operating 24 hours a day, the chandelier
is efficient compared with other light sources and is maintenance friendly. A
special mechanical rotation system ensures access to all parts maintenance.
The chandelier is 7.8m in diameter and 4.3m high. The local fabricator and
installer was Design Sense Pty Ltd. Judges’ comments: Excellent use of
visual cues from the surroundings and an original and effective solution
for creating a soft ambient effect, the judges were also impressed with the
innovative use of materials.
Designed as the centerpiece of the lobby of the Crown Towers Hotel,
this chandelier is part of Bates Smart’s interior design meant to signify
lightness and openness and a new image for Crown Towers. It is intended
to be viewed from below and laterally from the upper Mahogany entry
level. Composed of delicate constructed ‘chains’ of aluminum, nickel-
plated brass, Carl Zeiss optical lenses, prismatic glass, specular aluminium
reflective surfaces and large lanterns of LEDs, it uses all the vocabulary
of luminaire design to achieve delicate plays of light and form. It is
suspended from a single point at ceiling level then fans out to form a
wide drum shape. All drivers and technical equipment are hidden behind
access panels at the central hub. Cabling is also carefully concealed within
the radiating arms. The chandelier has three main lighting modes from
40 lantern boxes alternating around 5,500 mm diameter array; 20 inner
and 20 outer hub lantern panels; and 20 accent uplights and 20 optional
downlights. It was fabricated by Famco Pty Ltd. Vision Design contributed
valuable technical advice. It is: 6.5m indiameter and 3m high, excluding
suspension. Judges’ comments: The Judges were very impressed with the
technical attention to detail. The extraordinary amount of foresight into the
assembly and maintenance of this voluminous and delicate chandelier was
seen as a complete and integral part of the fixture.
AWARd OF COMMENdATION TO STEPHEN HENNESSy ART & dESIGN FOR CROWN vOId CHANdELIER
AWARd OF EXCELLENCE TO STEPHEN HENNESSy ART & dESIGN FOR CROWN LObby CHANdELIER
20 LIGHTING MAGAZINE | February/March 2013
Q u e e N s L a N d C h a p t e r
Unique bespoke “Tester” luminaire
AWARd OF COMMENdATION
TO INTRALUX AUSTRALIA PTy LIMITEd
FOR kOvE PROFESSIONAL
This is a specification grade pelmet lighting system.
Kove Professional makes indirect lighting easier
than ever before with the slim fixture footprint as
well as its high performance Osram SLS Seamless
T5 lamps offering high performance illumination.
Due to the utilization of the lamps, not only does
this present as an energy efficient lighting solution
but also as a highly energy efficient lighting design
tool to create the ultimate ambience for every
lighting design application. Judges’ comments:
This cove luminaire is both well conceived and of
very high quality, plus professionally catalogued
for its target market. While the luminaire appears
to be fundamentally simple to manufacture, its
unique integral reflector and specialised use of
the cap-less high output T5 lamp, allows it to be
both highly efficient and easily assembled into a
continuous and seamless pelmet lighting solution.
The luminaire is available in 3 different standard
lamp lengths (that can be easily series assembled
and connected off minimal supply points), while
also capable of being adapted for a variety of
smart control systems.
This luminaire is the culmination of efforts from both Jenni Gillard and
Dooley Zantis, and from David Toohey (the specifying Architect).
Judges’ comments: This unique bespoke “Tester” (cube) luminaire has
been built to liken the more conventional “tester” or “canopy” that would
traditionally serve to honour and focus attention to the form of the alter
below. This luminaire was created specifically for Saint Thomas’ Church
at Camp Hill, and its purpose is to create the feeling of “Church in the Round”.
The positioning and symmetry of the luminaire serves to give highlight to
this all-important piece of central architecture and attract the attention of
the congregation while also providing illumination to the alter top (“mensa”)
below. The contrasting 5,500K daylight colour temperature of the five LED
light panels that make up the “lamp”, set against the warmer “task” and
“general” lighting fixtures about the internal space of the church, its physical
size and shape (as it is assimilated with that of the Alter and Baptismal Font),
and depiction of the Greek Cross in perfectly themed and carved timber
panel craft, all giving authenticity and credibility to this luminaire design.
The enthusiasm and pride that the architect has demonstrated in appraising
the desired effect that was required and that has been created by this
luminaire, speaks volumes for the success of this project. The end result
is a luminaire that holds pride of place, is intriguing, is highly efficient and
low maintenance, and very successfully creates the atmosphere that was
sought in trying to re-create and give correct and appropriate importance
to this space.
AWARd OF EXCELLENCE
TO JENNI GILLARd –
ARCHITECTURAL LIGHTING dESIGNERS
FOR THE bESPOkE TESTER
The “Kove Professional”
February/March 2013 | LIGHTING MAGAZINE 2322 LIGHTING MAGAZINE | February/March 2013
8000
8101
8102
8100
Infinity Square
The Water Droplet
s C u L p t u r e a N d s t u d e N t a w a r d s ( N s w )
AWARd OF COMMENdATION (SCULPTURE)
TO dESTINy PARIS, yING CHING HUI,
CHARLEE dARE, AkIL LAU, RAMy SORIAL
OF AURECON FOR WATER dROPLET
STUdENT LUMINAIRE dESIGN AWARd TO bEN bAXTER, UNIvERSITy OF SydNEy FOR CUMULUS
This sculpture is a play on repetitive
geometric forms with linear
electroluminescent glow wire
programmed to create a variety on
mono coloured dynamic lighting
effects.Judges’ comments: With
the use of shapes and lighting this
structure showed what stunning
effects could be achieved with
light sculptures. Manufactured by
3S Lighting
The Water Droplet is a light sculpture designed
for Vivid 2012 it was comprised of three
double skinned plastic shells form a 6metre
high glowing lantern. Interactivity is the key
enticing the audience to enter the lantern and
strike the chimes. Judges’ comments: The
Water Droplet was a great success as a light
sculpture and in its design invited people to
interact. Manufactured by 3S Lighting
AWARd OF COMMENdATION (SCULPTURE) TO bOW JARUWANGSANTI,
CHRISTA vAN zOEREN, CATALINA CHICA, kRISTy PHILP OF HARON
RObSON/LIGHTMATTERS FOR INFINITy SqUARE
Cumulus
The NSW CMC has decided to trial Student Luminaire Design following the
successful QLD model. The intent is for students to develop concepts and work
with an industry partner or partners to realise their concept and for the student to
understand the complexities of materials used and detailing necessary. The NSW
CMC would encourage luminaire manufacturers to engage in this process and
assist in the development of future talent (any enquiries should be directed to Tim
Shotbolt). Currently the Student Luminaire Design Awards are sponsored by 3S
Lighting, AECOM Australia and Zumtobel. In 2012, there were two potential awards;
one for innovation and the other for the best overall student luminaire design and it
was decided to make only one – to “Cumulus” for the best overall student luminaire
design. The luminaire fulfils the original concept objectives and was developed and
detailed in partnership with industry. The objective for Cumulus was to create a
cloud which celebrated all the different light during a day: the pale delicate colours
of sunrise, a storm during the day and the rich tequila colours of sunset. Cumulus
is made from perforated aluminium where the metal acts as a reflector and the
perforations allow light through and reduce direct glare effects from the LEDS.
The light sources are 50 individually addressable LED nodes provided by Xenian.
Ben and Ruth worked with Planet Engineering developing the detail of the structure.
This is an example of the realisation of a concept by collaboration between designers
and industry experience. Manufacturer: Planet Lighting. Supplier: Xenian
This inaugral NSW award was sponsored by Aecom, 3S Lighting & Zumtobel.
24 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 25
d a y L i g h t h a r V e s t i N gd a y L i g h t h a r V e s t i N g
IMAGE: Galerie du Temps bathed in natural light [photo: © Iwan Baan]
Musée du Louvre-Lens – daylighting for art’s sake
by dR PHILLIP GREENUP
In 2003, the Musée du Louvre launched a brand-new project with the aim of renewing its 200 year-old tradition of reaching out to the regions beyond Paris. Rather than simply lending out works or staff with specialist knowledge and skills, it would create a new branch of the museum, where everything would be planned and built from scratch. This exciting project represents the museum’s first permanent display outside of Paris.
26 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 27
THE GRANdE GALERIE
(GALERIE dU TEMPS) LIGHTING
The Grande Galerie houses the permanent exhibition
known as the ‘Galerie du Temps’ – the gallery of time –
which exhibits the beginnings of writing around 3500 BC
up to the mid-nineteenth century, covering all civilizations
and techniques and thus embracing the chronological
and geographic gamut of the collections of the Louvre
museum.
The daylight design in this space intends to bathe the
space in natural illumination that is noticeable but not
overpowering. No direct sunlight is admitted at any time.
The natural lighting must be flexible such that different
daylight conditions are provided for different exhibition
needs. The electric lighting responds to the available
natural light, reducing light exposure to the sensitive
objects, increasing the visibility of the daylight and
reducing lighting energy consumption and costs.
Section through gallery skylight system[© Arup]
Daylight is delivered to the gallery though a skylight
system. The skylights comprise three main layers:
z An ‘egg-crate’ style external shading grille sitting on
top of the roof. These grilles are fixed in place, and act
to exclude all direct sunlight from entering the gallery,
while allowing view to the northern sky from within.
z A double-glazing system selected for performance
in terms of UV protection and colour rendering
performance.
z An internal operable louvre system that acts to control
the amount of daylight delivered into the gallery.
The internal louvres are key to flexibility of daylight
penetration into the gallery. These can be opened or
closed to allow more or less daylight into the gallery.
It is intended that these are operated not on a daily
or seasonal basis but whenever a change is made to
T he Louvre-Lens opened to the public in the
industrial city of Lens, in Northern France, on
12 December 2012. It is more than just an annex
of the Louvre: it is the Louvre itself, with its own
departments and a full range of artistic, social,
and educational programmes and activities. The
works are presented in new and innovative ways,
giving them new meaning and making them more
culturally accessible.
Designed by Japanese architects SANAA,
led by Kazuyo Sejima and Ryue Nishizawa, the
main museum building comprises a series of five
structures of glass and steel, extending in total
over 360 metres long from one end to the other.
Transparency and reflectivity of the building
envelope are important features of the architecture,
to ensure that the museum integrates seamlessly
into its environment. The project strives to create
an open relationship between the museum, nature,
the landscape and the town.
A key architectural objective was to present the
works in natural light, creating a direct relationship
with the sky brightness. The decision to use natural
light was not only an architectural objective but
also a key aspect of the museography (design of
the exhibits which was initiated by Imrey Culbert,
based in New York).
The project’s lighting design was by Arup’s
lighting designers based in London and Melbourne.
The firm’s comprehensive lighting design services
included natural and electric lighting, interior and
exterior lighting design, base building lighting and
input to the exhibition lighting. Arup’s lighting team
in Melbourne took the daylighting and internal
lighting design from concept phase to completion.
The project’s daylight design objectives
were primarily about creating a naturally lit
experience for the visitor, whilst meeting the strict
environmental control requirements specified by
the museum. Connections between the interior and
the exterior were extremely important and there
was a strong intention to emulate the changing
exterior conditions within the interior.
The museum’s two main galleries extend
outward from the central entrance hall, the Grande
Galerie to the east and the temporary exhibition
hall to the west.
the exhibition. For instance, if the exhibits are
changed from sculpture (generally low degree
of light sensitivity) to photography (generally
high degree of light sensitivity), the louvres
can be closed to reduce the level of daylight
penetration. They also allow for different levels
of daylight penetration in different parts of the
gallery. In this way, one part of the gallery can
display sculpture and another part can display
photography.
The electric lighting in the gallery comprises
two main components, both mounted on
lighting tracks located beneath the skylights,
between the internal louvre banks. Ambient
lighting is provided by metal halide wide-beam
floodlights. These are arranged to provide either
50, 150 or 200 lux, depending on the needs of
the exhibit. Museographical lighting is provided
by LED spotlights, with framing accessories.
The ambient lighting is controlled in response
to the available natural light. The metal halide
floodlights are switched in banks as internal
daylight levels change. PE cells distributed
throughout the gallery monitor internal lighting
levels. As daylight levels reduce and internal
lighting levels fall below preset levels, a portion of
the ambient lighting is immediately switched on
to compensate. As daylight levels increase and
internal lighting levels rise beyond preset levels,
a portion of the ambient lighting is switched off.
The ‘switch off’ level is set above the ‘switch on’
level, to ensure the ambient lighting does not
constantly cycle. A delay time is also included
in the ‘switch off’ scenario, such that the upper
‘switch off’ level must be exceeded for 15 minutes
before the ambient lighting is switched off. This
considers partly cloudy conditions and again
intends to avoid constant cycling of the ambient
lighting.
The natural lighting system in the Galerie du
Temps provides a gentle wash of daylight within
the gallery, meeting the intent of connecting
the interior with the exterior whilst protecting
the precious works. While the key intention of
the lighting control system is to protect the
works from over-illumination, it also provides for
important lighting energy savings.
EXTERNAL EGG-CRATE LOUvERSEXCLUdE ALL dIRECT SUN PENETRATION PERFORMANCE dOUbLE
GLAzING
INTERNAL OPERAbLELOUvER SySTEM
ROOF bEAMS
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THE TEMPORARy EXHIbITION HALL LIGHTING
The system within the temporary exhibition hall
is similar to that in the Galerie du Temps. The
current exhibition in this space is ‘The Renaissance
– Revolutions in the arts in Europe 1400-1530’.
Objects in this collection tend to be more light
sensitive than many of the pieces in the Galerie
du Temps. As such, the internal skylight louvres
are currently closed through the majority of this
gallery. Only one part of the space has louvers in a
more open position. This space, housing a da Vinci
masterpiece, gains from emphasis provided by
the daylight allowed into this space but not in the
surrounding spaces.
With the daylighting and lighting systems in this
space identical to those in the Galerie du Temps,
the internal louvres can simply be opened up when
the next exhibition is installed and the lighting will
operate as it does in the Galerie du Temps.
THE PAvILLON dE vERRE LIGHTING
The third main exhibition space takes a different
daylighting approach. Known as the ‘Pavillon
de Verre’ – the glass pavilion – this space is fully
glazed on three sides and has no skylights. Three
‘bulles’ within the space provide small enclosures in
which more sensitive objects can be displayed.
The Pavillon de Verre will display objects from
outside the Louvre’s own collection, including
contemporary art pieces that are not otherwise
displayed by the Louvre. Electric lighting within
the Pavillon de Verre also responds to available
daylight, with a series of PE cells controlling the
ambient lighting in set regions around the space.
THE ENTRANCE HALL
The central entrance hall, roughly 60 metres
square, is fully glazed to six metres height on all
sides, providing deep daylight penetration. A large
circular skylight over the central public staircase
to the basement spaces assists in illuminating the
centre of the space, as well as delivering daylight
into the basement below. Electric lighting to the
perimeter of the entrance hall is also controlled in
response to available daylight, switching off during
daylight hours.
CONCLUSIONS
Daylight harvesting was employed throughout
the gallery spaces and the entrance hall. This
was not employed with the primary intention to
reduce lighting energy consumption. Instead the
focus of the lighting controls was more about
enhancing the impact of the daylight design,
and protecting the precious works. The new
museum’s natural lighting design was integral to
achieving the architectural intent to integrate the
museum seamlessly into its environment and the
museographical intent to present the works in
natural light, creating a direct relationship with the
sky brightness. The daylight design was integrated
into the architectural and museographical designs
and matched with daylight-responsive ambient
electric lighting. With 700,000 visitors expected in
the first year, the museum is certain to impress. Entrance hall surrounded by glass [photo: © Hisao Suzuki]
Photograph of skylights within the Galerie du Temps [© Arup]
Note: © Designers of the Musée du Louvre-Lens: SANAA (Kazuyo Sejima and ryue Nishizawa), Imrey culbert (celia Imrey and Tim culbert) and Mosbach Paysagiste (catherine Mosbach); Museography: Studio Adrien Gardère
30 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 31
d a y L i g h t h a r V e s t i N g
FINdING A SPACE
Designing a commercial fit-out in an
existing building for daylight has additional
challenges over fit-outs where the new
building can be adapted at the design stage.
For the most part with existing buildings
the daylight openings are given. Not taking
anything for granted for the Stephenson &
Turner Design Studio we managed this in
two ways. First we considered each of the
potential tenancies with basic computer
studies of the daylight and secondly when
we had a preferred option the installation of
skylights was one of the items negotiated
with the building owner.
by MICHAEL WARWICk, bbSC, TECH IES
Ready for a refreshing change and what better way to achieve this than with a new home. An opportunity to show how we ‘walk the talk’ in sustainability the design team broke free from current open-plan norms to encourage the highest levels of group communication between the architectural and building services disciplines and tiers of our organisation. The result is a light, open-plan environment that encourages and improves health, well-being and productivity.
110 year old building seen in a new light!
Daylit work settings connect visually to the meeting spaces with artificial lighting
Our chosen tenancy is the top floor of a 110 year
old building, with the loft space came open trusses
and ample character. The space also only had access
via 2 flights of stairs and a poorly insulated roof
making it hot in summer and cold in winter. Access
was improved by creating a connection to the building
next door and including the lift lobby in our lease, the
thermal environment was improved by installing white
insulation which also added reflectance. While the
ceiling is high at the central ridge, at the wall the roof
is low limiting the height of the existing windows and
therefore limiting the depth of the daylight penetration.
The modelling showed that skylights would make a
significant difference to the amount of natural light in
the space.
32 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 33
Plan of office showing area achieving 2.5% daylight factor
ABOVE:Cafe area has lower levels of daylight to allow for presentations
dAyLIGHTING dESIGN
The daylight modelling was then continued through
the early concept and preliminary design phases, while
the architectural design was primarily hand sketches
a computer model was already being used to analyse
the daylight. Each process informed the other resulting
in installation of eight openable skylights and the
target daylight factor of 2.5% being achieved for all the
open-plan workstations. For Wellington this equates to
an average of 230 lux of daylight during working hours.
Since this would give more than half the required
illumination it made sense to utilise daylight harvesting.
In fact, due to supply issues the lights didn’t arrive
until a couple of months after we moved in, for the
first month the daylight proved sufficient, after the end
of daylight savings however we had to install some
temporary supplementary lighting.
Daylight levels were deliberately kept lower in the
café and meeting spaces so that light levels could be
managed for projection of presentations and video
conferences. Venetian blinds on the skylights are
individually controllable so that glare can be managed.
dAyLIGHT HARvESTING
The lighting to the open plan area has been
commissioned to dim down when the daylight
is sufficient to maintain lighting levels at around
600-700 lux. When the lighting has been
dimmed to its minimum level for 15 minutes
the system turns off the lights completely.
When the lighting falls below the target level
it will bring the lights back on again as the
daylight fades and the 15 minute time delay
in turning off prevents annoying flickering of
the lights. Movement sensors will bring on
the lights so during summer the lights are not
always turned on in the morning and only bring
themselves on if required in the evenings.
With separate metering of the lighting from
the general and mechanical power the effect
of this on our power usage is quite noticeable.
LEFT:False Colour Rendering of the daylight distribution from the final computer model
34 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 35
The lighting control system is based on DALI.
The floor is divided into 3 zones with the light
fitting zones corresponding to the skylight groups.
Each zone has at least 2 sensors and the lighting
levels for daylight harvesting are averaged across
the sensors. Having multiple sensors means that
the lighting is not as sensitive to situations like
a pool of sunlight or a dark object sitting under
a particular sensor causing a false reading. The
sensors also function as motion sensors and the
increased number of sensors helps with coverage.
Commissioning has been ongoing as there
have been some issues with the skylight control
system locking up intermittently, the cause of
this has not yet been identified and no solution
found. Turning the skylight circuit off and
then on again resets the system and restores
functionality for anything from a few days to a
couple of weeks. This problem has been the only
real disappointment in the system. Our learning
for next time is that we would definitely go to
a more advance skylight motor which had hard
wired connection and a high level interface to the
Building Management System (BMS).
The skylights are linked to the BMS via a set
of contacts and transmitters. The BMS will open
the skylights to a preset level when CO2 levels rise
in the office above a preset level. Initially a CO2
level of 600ppm was used however the skylights
opened one day when it was only 4° outside. The
BMS has now been reprogrammed to increase the
CO2 set point when the outside temperature is
lower. The BMS also signals the blinds to open and
skylights to close to reset the system each day.
SUSTAINAbILITy
Green Star was used to assess and weight the
environmental options with a target of 6 stars
(the highest level attainable) for the fit-out. Often
the cost/benefit analysis that is done for value
management considers only current costs versus
future costs, with Green Star it was possible to
also consider the sustainability aspect of the
choices faced. The project was completed to
the six star standard on a modest budget and
without any worthless ‘green’ appendages.
The skylights, daylight harvesting and lighting
controls scored well in many categories. Energy
savings, light quality and quantity and external
views are obvious points but also the acoustics
and ventilation benefited as the acoustic testing
required sufficient natural ventilation to be open
and the skylights do not open directly to the
street as the windows do.
THE RESULT
The fit-out has been recognised in several awards,
including two IESANZ awards. The IESANZ judges’
comments were “The design uses good integration
of daylight and artificial lighting into the space
using intelligent control and energy efficient
luminaires”. The awards won are:
z Winner Workplace, Interior Awards (2012)
z Green Building Merit Award, Property Council
NZ Awards (2012)
z Silver Design Award – Offices and Workplace
Environments, Designers Institute of New
Zealand’s Best Design Awards (2011)
Average daily energy use for lighting showing significant reduction through summer. Lighting target is energy that would be required if all lights were on 8 hours a day 5 days a week.
View through skylight to the adjacent building which provides lift access to our floor
Diffuse light on an overcast day
Average daily Lighting Performance
Jan 2012 Apr 2012 Jul 2012 Oct 2012
Lighting (kWh)
Lighting Target (26.9kWh/day)
30
23
16
9
2
z Sustainable System Award, Resene
Total Colour Awards (2011)
z Award of Excellence – Energy
Efficiency, IESANZ Lighting Design
Awards (2011)
z Award of Commendation – Lighting
Design, IESANZ Lighting Design
Awards (2011)
The best result though is having a
great place to work and a place that is
complimented by visitors. And after the sun
has set, then we can play with colour.
36 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 37
o r g a N i C L e d s
I n the world of organic light emitting diodes
(OLEDs), the future looks a little something
like this: smart device screens will bend like paper,
televisions will be as thin as credit cards and
luminaires will interact with the people around
them.
Believe it?
You should. OLED technology has advanced so
far in the last five years that many manufacturers
believe it will soon be as ubiquitous as traditional
LEDs are today.
OLEDs are a diffuse, semiconductor light
source. The light is created by passing a current
through very thin layers of organic material that
is positioned between two electrodes. Unlike
standard LEDs, which are a point source, OLEDs
cast wide-area light. They are classified as a cold
light source and so don’t heat up, removing the
need for bulky heat-sinks and making them an
excellent light source for illuminating heat sensitive
materials.
“A complete OLED lighting system can be
ultra-flat, transparent and flexible [and can] cover
a large area,” says Christian Boelling, Spokesperson
Technology for Osram in Germany.
“The OLED panels are glare-free area light
sources which, when switched off, can be
either transparent or have a mirror-like or milky
appearance.
“When switched on, all three variants provide
a high quality, warm white light. Thus, OLEDs
can be used in almost every application you can
think of, from a designer’s luminaire to various
automotive applications.”Living Shapes OLED wall by Philips Lumiblade. [photo: courtesy of Philips.]
new horizons for organic LEdsby CLAIRE THOMPSON
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and has been installed in the London showroom of
a British-based optical company.
“In a highly competitive market, hotels, retailers
and companies are constantly looking for ways
to stand out from the crowd, as a distinct brand
with a unique identity,” says Dietmar Thomas, a
spokesperson for Philips Lumiblade.
“Innovative applications like OLEDs can play
an important role in create a unique ambience in
these environments.”
But it’s perhaps in the development of
luminaires that OLEDs are having their most
exciting debut, with numerous lighting companies
producing a range of eye-catching collections.
In fact, many designers and manufacturers now
believe that OLED technology will revolutionise the
industry, such are the creative opportunities that
the technology provides.
“Their unique aesthetics will permit completely
new applications. Thus, the technology will
primarily allow luminaire designers previously
undreamed-of creative freedom,” says Boelling.
Such creative ideals are currently being
exploited by companies like Acuity Brands, a major
lighting company in the USA whose OLED experts
are producing some breathtaking pendants, panels
and surface-mounted systems under their Winona
brand. Four of Acuity’s OLED product families—the
Revel, the Kindred, the Trilia and the Canvis—are
OLED GL350 panel by Philips Lumiblade.
[photo: courtesy of Philips]Revel OLED by Acuity Brands. [photo: courtesy of Acuity Brands]
Since their initial development in the 1980s,
OLEDs have found a home in a range of electronic
device displays, such as mobile phones –
Samsung1 1, Nokia2 2 and LG 3 3 are just a handful
of the brands taking advantage of the technology.
But where OLEDs looked certain to fall down
in their infancy as a result of colour rendering,
brightness and lifespan issues was in their use
as an illumination source in retail, hospitality and
residential settings.
Fast forward to the 2000s, and OLED lighting
technology is growing in leaps and bounds. A
number of companies, including Osram and Philips,
released OLED panel lighting between 2008
and 2010. Both companies are currently working
on transparent OLED light sources to be on the
market in the next couple of years.
Philips has also produced some novel OLED
applications through the Lumiblade brand,
including a LivingShapes interactive wall—a large-
scale OLED surface embedded with hidden
camera and microphone that record nearby
activity and project it in a visual format onto
the wall – and an interactive mirror that detects
when someone is in front of it and uses OLEDs
to immerse the viewer in natural and shadow-free
light. The wall has been used to create vibrant
installations in hotel lobbies and other public areas,
while the mirror is in use in high-end hotel rooms
OLED technology has advanced so far in the last five years that many manufacturers believe it will soon be as ubiquitous as traditional LEDs are today
now commercially available. And they’re not alone,
with numerous companies like Osram, Philips and
Lumiotec also starting to make inroads into the
market.
Where OLEDs are unique, according to the
Acuity Brands team, is in the opportunities they
create for designers to integrate technology, design
and emotion in a single installation. Traditional
lighting technologies can serve both a functional
and an aesthetic purpose—to light a space, to
capture or contribute to a design aesthetic— but
the process of engaging with light tends to be
more observational than interactive.
“Traditionally, we appreciate the light, but we
don’t think of it as something that we engage with
to a large extent. We turn on the light switch or
we set the dimmer and it creates a mood, and it’s
somewhat static,” says Jeannine Fisher, Director of
OLED Business Development at Acuity Brands’
OLED Lighting Design Center.
The thinness of OLED luminaires, and the
myriad forms that OLEDs can take, help create
a relationship between humans and their
environment.
“The other character that that brings into play in
terms of lighting design is that the forms and the
shapes and the way that you experience that thin
sheet of light allows the designer to have much
greater levels of creativity,” says Fisher.
40 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 41
“And so our luminaires are really also
encompassing that principal in their design so that
we can break away from regimented, traditional
lighting layouts, that the luminous surface gets
expressed in the design of the space, that you can
create very interesting patterns and motifs using
OLEDs that you really can’t do with traditional light
sources.
“You can take a very simple luminaire form and
create myriads of shapes and the application of
the architecture.”
A prime example is Acuity Brands’ Canvis
Twist luminaire, which has built-in gestural control
that allows the luminaire to change its shape in
response to the movements of the person below
it, creating a unique relationship between user and
light source.
“Why does a luminaire need to be a single
shape?” Fisher says.
“You can change the shape. You can, by your
body movement, have that shape change and
respond to how you are changing positions. And
in doing so, you have a much stronger emotional
connection to light than you normally do.”
Despite the rapid pace with which the
technology is advancing, OLEDs still face a number
of limitations that researchers are still seeking to
overcome. The main challenge to date is lifetime,
which currently hovers at around 15,000 hours at
70% maximum brightness for white light. OLEDs
are a full-spectrum light source, and so their
lifespan is dependent on the efficiency of each
colour in the spectrum. The shortened lifespan is
due to ongoing problems with blue lighting; while
red and green are now considered to be very
efficient, researchers continue to seek solutions to
bring blues up to the same standard.
“[We’re] mindful that OLED is still a young
lighting technology,” says Thomas, who believes
the technology still lingers about 3-5 years behind
LEDs but that researchers will eventually bring
them on par.
“OLEDs will become larger, brighter and more
efficient in the years to come. At the moment the
largest OLED we offer is roughly 12x12 centimetres,
[but] we will see OLEDs of one square metre by
2018.”
Pricing presents another challenge. While
the technology itself has exciting potential for
application in retail, exhibition, hospitality and
residential spaces, the current price point is a
deterrent for prospective clients, and some
analysts believe that OLED technology always
be priced at a level that it inaccessible for
mainstream consumers.4
Thomas agrees, saying that because OLEDs are
not currently being mass produced, the technology
is currently only really of interest to designers and
architects who are looking to incorporate new light
sources into their projects.
“However, with the widening of our production
capacity, we will expect more and more solutions and
systems based on OLEDs with lower prices. In 5-6
years, people [will be using] OLED-based solutions
in their homes,” he says.
Future applications include media facades and
car manufacturing5, as well as more surprising
uses such as wearable OLEDs6. Samsung recently
debuted a flexible smart phone screen7, which
technology experts believe is the first step towards
the production of smart phones and tablets that can
be folded like paper.
The next frontier looks likely to be OLED
televisions, which are said to be both more energy
efficient and offer higher contrast images that liquid
crystal displays8. LG revealed an OLED television
in 2012 and announced at the 2013 at the 2012
Consumer Electronics Show (CES) in Las Vegas
that the television will be available for purchase in
Australia by March. The Australian Financial Review,
reporting from the CES, described the TV’s picture as
having ‘deep blacks and rich, saturated colours, both
of which are standard features of OLED displays,
but it also has crisp, bright whites, which LG says it
has achieved by adding an extra, white pixel to the
standard array of red, green and blue pixels found in
regular OLED TVs.’9
Says Fisher,
“Transparent and flexible OLED devices will
emerge as a more commercially viable technology.
These technological advances, among others,
coupled with ground breaking designs and
engagements, bring us a very exciting future to look
forward to.”
FooTNoTES:1 http://www.tgdaily.com/mobility-features/67933-samsung-galaxy-s4-may-boast-unbreakable-oled-
display 2 http://www.oled-info.com/oled_devices/mobile_phones 3 http://www.oled-info.com/oled-mobile-phones 4 http://optics.org/news/2/7/27 5 http://www.osram.com/osram_com/press/press-releases/_trade_press/2012/oled-auto/ 6 http://www.oled-info.com/tags/wearable-oleds 7 http://www.smh.com.au/digital-life/mobiles/samsung-shows-off-paperthin-bendable-mobile-screen-
20130111-2cjou.html 8 http://www.afr.com/p/technology/lg_takes_pre_orders_for_next_generation_
VNgbWXMyocIb67300Ks3PL 9 http://www.afr.com/f/free/technology/digitallife/lg_oled_tv_coming_late_march_for_
Zn4mgiovywvuZh2rvGwkrP
Canvis™ Twist by Acuity Brands
40 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 41
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t e C h N i C a L f e a t u r e
Health benefits of daylighting
By Michael Warwick BBSC, TECh IES
Second only to fresh air ... I should be inclined to rank light in importance for the sick. Direct sunlight, not only daylight, is necessary for speedy recovery ... I mention from experience, as quite perceptible in promoting recovery, the being able to see out of a window, instead of looking against a dead wall; the bright colours of flowers; the being able to read in bed by the light of the window close to the bed-head. It is generally said the effect is upon the mind. Perhaps so, but it is not less so upon the body on that account ...
- Florence nightingale, 18601
Daylight affects our health; access to daylight
assists with reducing errors, improving sleep,
reducing depression and reducing pain and
recovery times in healthcare patients. While
this has been known for a long time in the last
decade a growing body of solid research has
confirmed this, given us empirical evidence, and
the start of an understanding of the biological
mechanisms involved.
While other design interventions may
require considerable expense daylighting,
done well, utilises a free resource. Aspects
of daylighting that have been shown to be
beneficial include sunlight, skylight, changing
of colour temperature through the day, and the
associated external views.
Health design through the twentieth century
was primarily a collaborative process involving
healthcare professionals, architects, health
design specialists and even patients. However,
the resulting design was still driven by fads,
trends and hypothesis. As demands for health
facilities to perform and meet mandated
key performance indicators combined with
tightening budgets put pressure on hospitals
to justify expenditure with more than just
subjective responses the evidence-based
design approach was adopted. Evidence-based
healthcare design in increasingly guided by
rigorous research linking hospitals’ physical
environments to healthcare outcomes and this
is in turn informing other areas of design.
However, in 1995, 1997 and 1998 reviews of 1,219
scientific studies relating environment to health
outcomes culled from 78,761 articles showed
that there were few which had been completed
with sufficiently rigorous methodology and
controls2. Fewer than a third were randomised,
controlled studies and of those many were of
such a small subset, for example single ethnicity
or condition, that the general applicability of the
results were questionable. Also several studies
reported conflicting results. This led to the recent
programme of research the results of which are
outlined here3.
REdUCING MEdICAL ERRORS
In the USA the Institute of Medicine (IOM, 19994)
estimates that between 44,000 and 98,000
people die each year of preventable medical
errors, when compared with motor vehicle
accidents (43,458 deaths), breast cancer (42,297)
and AIDS (16,516) it can be seen that there is
significant opportunity to save lives. Studies in
1986 and 1991 suggest that the frequency of
pharmacy dispensing errors are reduced when
the work-surface light levels are relatively high.
Results showed that error rates were reduced
to 2.6% at an illumination level of 1,500 lux
compared with an error rate of 3.8% at 450 lux.5 6
REdUCING PAIN
The pain reduction mechanism for sunlight
appears to be from increases in levels of
serotonin, a neurotransmitter known to
inhibit pain pathways. A 2005 study of
patients undergoing spinal surgeries who
were admitted to postoperative rooms
on either the bright or shaded side of the
surgical ward showed patients in the rooms
with more sunlight (46% greater sunlight
intensity) reported less pain and stress
and took 22% less analgesic medication,
a saving of 21% in medication costs.7
IMPROvING SLEEP PATTERNS
This is an area where there has been a
significant number of studies, the findings
have been consistent in showing that light
is significant in regulating our internal clocks.
Blue to blue-green light suppresses melatonin.
Melatonin is a hormone that is produced at
night, suppressing melatonin wakes us up;
in the morning this is good however in the
evening this leads to more irregular sleep
patterns. Daylight works well at entraining
the circadian clock to the solar day; field
studies on students by the Lighting
Research Centre found that insufficient
exposure to daily morning light contributed
to lack of sleep due to later bedtimes.
Students wore glasses that filtered out
short-wavelength (blue) morning light
and after five days were experiencing a
30 minute delay in melatonin. Investigator
Dr Mariana Figueiro concluded “These
morning-light-deprived teenagers are going
to bed later, getting less sleep and possibly
underperforming on standardised tests.”8
Daylight has a bluer colour temperature at dawn and dusk [photo: Andreas Krappweis]
44 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 45
TOP:Hospital near Notre Dame in Paris, designed for daylight when that was the only option [photo: Liam Heffernan]
ABOVE:High levels of lighting have been shown to reduce medical errors, here daylight supplements artificial lighting [photo: Stephenson&Turner]
As well as colour, illuminance is important.
The discovery in 1980 that illuminances
greater 1000 lux are necessary to affect the
circadian system changed our approach to
lighting. As the sun comes over the horizon
it produces an illuminance of about 1000 lux.
This finding initiated the use of bright light
to treat seasonal affective disorder or winter
depression – the standard treatment is now
10,000 lux for 30 minutes.9
Not all light related interventions have
been successful, another study implemented
guidelines to minimise nighttime levels in a
hospital ward which resulted in significantly
lower mean light disturbance and shorter
periods with the higher light levels. However,
these resulted in greater variation in light
levels which disturbed patients sleep
patterns.10
TREATING dEPRESSION
How daylight alleviates depression is not
fully understood. The effects of improved
sleep
and reduced pain from the hormonal
effects noted above may be factors,
however the inevitable connection to the
outside and views are hard to isolate. A
meta-analysis of 20 randomised controlled
studies reached the conclusion that light
treatment for nonseasonal and seasonal
depression is “efficacious, with effect sizes
equivalent to those in most antidepressant
pharmacotherapy trials”, additionally light
exposure has the advantage of being faster
acting. Light produced results with less than
2 weeks of treatment while antidepressant
drugs require at least 4-6 weeks before
effective onset.11 12
REdUCING HOSPITAL STAy TIME
A comparative study of 278 cardiac patients in
Bangladesh showed that, after accounting for
other factors, patient length of stay was reduced
by an average of four hours per 100 lux increase
in daylight at the bed in the recovery ward.
Daylight mean ranged from 200 to 1080 lux.13
A review of four years of records of myocardial
infarction patients in a cardiac intensive care unit
not only found a reduction of stay for patients
in sunny rooms (1200-2500 lux) over dull rooms
(200-400 lux) but also a significantly lower
mortality rate (39/335 dull verses 21/293 sunny).14
LIGHT AS A TRIGGER OF MIGRAINES
Although not a primary trigger, bright light,
sunlight, transitioning from extremes of low to
high such as leaving a movie, glare and striped
shadow patterns are mentioned as other
triggers in a study of 180 volunteer who were
migraine patients.15
CONCLUSION
Lighting designs can imitate daylight to achieve
many of the health benefits identified here.
Lighting levels can be raised, blue and variable
colour temperature lighting used and control
systems can follow the daily solar cycle. These
solutions are however complex and expensive.
The simplest and most cost effective way
though is to start by optimising building designs
to make the best use of the available daylight
and let the sun into our homes, workplaces and
healthcare facilities. Where required by deep
floor plates and low ceilings in existing building
conditions, short days at higher latitudes and
shift work the knowledge gained from these
studies can then be used to gain the health
benefits though artificial lighting.
Aspects of daylighting that have been shown to be beneficial include sunlight, skylight, changing of colour temperature through the day, and the associated external views
rEFErENcES1 Nightingale, Florence, Notes on Nursing: What It Is
and What It Is Not, London: harrison, 19602 rubin, hr, owens, A., Golden, G. Status Report
(1998): An Investigation To Determine Whether The Built Environment Affects Patients’ Medical Outcomes. Quality of care research, The Johns hopkins university
3 ulrich, rS et al (2008). White Paper Series 5 of 5: A Review of the Research Literature on Evidence-Based Healthcare Design. The centre for health Design
4 Institute of Medicine. (1999). To err is human: Building a safer health system. Washington, Dc: National Academies Press.
5 buchanan, T.L, barker, K.N, Gibson, JT, Jiang, bc & Pearson, rE (1991). Illumination and errors in dispensing. American Journal of Hospital Pharmacy, 48(10), 2137–2145.
6 Sundstrom, E & Sundstrom, MG (1986). Work places: The psychology of the physical environment in offices and factories. cambridge: cambridge university Press.
7 Walch, JM, rabin, bS, Day, r, Williams, JN, choi, K, & Kang, JD (2005). The effect of sunlight on post-operative analgesic medication usage: A prospective study of patients undergoing spinal surgery. Psychosomatic Medicine, 67, 156–163.
8 Figueiro, MG & rea, MS (2010). Evening daylight may cause adolescents to sleep less in spring than in winter. chronobiology International 27 (6): 1242-1258
9 czeisler, cA, Gooley, JJ (2007) Sleep and circadian rhythms in humans. cold Spring harbor Symposia Quantitative biology; 72:293-9
10 Walder, b, Francioli, D, Meyer, JJ, Lancon, M & romand, JA (2000). Effects of guide-lines implementation in a surgical intensive care unit to control nighttime light and noise levels. Critical Care Medicine, 28(7), 2242–2247.
11 Golden, rN, Gaynes, bN, Ekstrom, rD. hamer, rM, Jacobsen, FM, Suppes, , et al (2005). The efficacy of light therapy in the treatment of mood disorders: A review and meta-analysis of the evidence. American Journal of Psychiatry, 162(4), 656–662.
12 Lewy, AJ, bauer, VK, cutler, NL, Sack, rL, Ahmed, S, Thomas, Kh, et al. (1998). Morning vs evening light treatment of patients with winter depression. Archives of General Psychiatry, 55(10), 890–896.
13 Joarder, MAr, Price, A & Mourshed, M.(2010). Access to daylight and Outdoor Views: A comparative study for therapeutic daylight desig., World health Design, January 2010, www.worldhealthdesign.com
14 beauchemin, KM & hays, P. (1998). Dying in the dark: Sunshine, gender and outcomes in myocardial infarction. Journal of the Royal Society of Medicine, 91, 352–354.
15 Shepherd, AJ. (2009) Visual Triggers of Migraine and Headache. Paper presented at Lux Pacifica, bangkok and featured in Lighting Magazine June/July 2010.
46 LIGHTING MAGAZINE | February/March 2013
IESANZ rEcogNISES outStANdINg coNtrIbutIoNS IN 2012As each year draws to a close, the various Chapters of the IESANZ hold their awards nights or annual dinners. As well as making presentations to the winners of the Lighting Design Awards and the Luminaire Design Awards, the occasions are also used to recognise other achievements by members as well as those who have had membership upgrades.
In New South Wales, Reginald Wilson, FIES and Peter Baxter, LFIES were recognised for their long service of 50+ years of Society membership.
The Richard (Dick) Chappell Memorial Award, in recognition of exceptional contribution to the lighting profession throughout a long and distinguished career, was made to Steve Furzey, LFIES.
Paul Butterworth, Peter Jones, David Lewis, Owen Manly, Richard Massey and Frank Tawil had their upgrading to Fellow, FIES, announced at the dinner.
In Queensland, John Tank, Neil Wills and Dick Mackenzie were recognised for their outstanding service to the Society by having their Fellowships elevated to Life Fellow.
In South Australia, Ron Hinde was also recognised for outstanding service to the industry and the IES was upgraded to FIES.
ruSSEll loANE rEcogNISEd IN AuStrAlIA dAy HoNourSLighting Council Australia’s Chairman, Russell Loane, was awarded a Medal (OAM) in the General Division of the Order of Australia in the 2013 Australia Day Honours for “service to engineering in the field of illumination”. As well as working tirelessly to ensure that Australia has its own peak lighting industry body, Lighting Council Australia, he has:
z served in an honorary capacity as
Lighting Council Australia’s Chairman for 11 of the past 12 years, overseeing considerable growth in the Council since its incorporation as a single entity five years ago,
z established a leading role for Australia in the Global Lighting Association,
z served in an honorary leadership capacity at national and state levels within the IESANZ, and
z established several successful lighting businesses, including manufacturing facilities in Australia and New Zealand.
ENErgy EffIcIENcy AwArdS mAdE by IESANZ NEw ZEAlANd cHAptErEECA Energy Efficiency Awards were made to:
z Wes Nielsen and Trevor Murray, 0800 Save Energy for the International Check-In Area (Counters 26-27) Auckland Airport. Judges’ comments: Great result with improved efficiency for a scheme that still meets the visual comfort in a large open space. Suppliers: Enlightenz, Helvar and Trilux
z Trevor Murray, 0800 Save Energy for the Fisher & Paykel Auditorium, Owen G. Glenn Building. Judges’ comments: Great improvement to the total connected load and smart integration of controls. Supplier: Enlightenz New Zealand Limited.’
2013
1-4 March
LED China 2014www.led-professional.com/events/2012/led-china-2013
GUANGzHOU, CHINA
6-8 March
7th Lux Pacificawww.tieathai.org and www.luxpacifica.org
bANGkOk, THAILANd
18-19 March
1st Int Conf on Architecture and Civil Engineeringwww.ace-conference.org/
SINGAPORE
26-29 March
Taiwan International Lighting Showwww.tils.com.tw
TAIPEI, TAIWAN
12-19 April
CIE Celebrating its 100th Birthday/ CIE Midterm Meeting www.cie.co.at
PARIS, FRANCE
23-25 April
LIGHTFAIR International (LFI)www.lightfair.com
PHILAdELPHIA, USA
5-9 May
CIB World Building Congress 2013worldbuildingcongress2013.com
bRISbANE
24 May - 10 June
Vivid Sydneywww.vividsydney.com/
SydNEy
Events Calendar
i e s u p d a t e s + p o s t s
Russell Loane
tHE lEd’S 50tH ANNIvErSAryOn 9th October, 1962, Nick Holonyak, a GE scientist was working towards realising a semiconductor laser in the visible spectrum with GaAsP (gallium arsenide phosphide). Holonyak became the first person to operate a visible semiconductor alloy laser – the device that illuminated the first visible LED. These were to become the familiar indicator lights used in electronic equipment. Little happened in LED development until a blue LED was developed at Nichia in 1993 – green, orange and yellow appeared after 1971. Blue meant that white light could be produced by RBG additive colour mixing. A blue LED also meant that fluorescence could be used to produce white light. This is the method used except where colour changing is required.
Fifty years on from Holonyak’s invention, new, robust and long-lasting LEDs have changed the lighting world, ushering in a period of chaotic change which will probably need a few more years of rationalisation before a new lighting manufacturing industry emerges.
uNESco boArd bAckS INtErNAtIoNAl yEAr of lIgHtThough a final declaration by the UN is still required, that is expected to be straightforward and UNESCO’s support paves the way for a full year of activities to celebrate and raise awareness of optical technologies, with planning already under way. More than 40 scientific societies and other institutions have been pushing for the initiative since 2009.
Now, following approval at the 190th session of the UNESCO executive board in Paris, detailed planning for a coordinated series of activities in 2015 is set to begin, in parallel with the preparation of a formal request to the UN’s General Assembly.
tAIwAN INtErNAtIoNAl lIgHtINg SHow 2013In mid-November I joined other lighting writers on a three-day prequel to the 2013 show to be held 26-29 March 2013 at the Taipei International Centre Exhibition Hall. The prequel was a pre-show tour of lighting factories in Taipei and Tainan, sponsored by the Taiwan External Trade Development Council. I attended the first TILS in 2010 along with about 11,500 visitors. I wrote about it in Lighting. It was good to learn that the 2011 show attracted 18,500 visitors in difficult economic times and in a part of the world where lighting shows seem to be a monthly occurrence.
The tour concentrated on LEDs (from wafer manufacturing to finished luminaires) and induction fluorescent lamps (both spherical and lozenge-shaped). Taiwan is the world’s leading manufacturer of LED chips and in 2012 produced 1.57 million (4”-equivalent) wafers per month. Nan Ya Photonics has the world’s first fully automated LED production line and companies, such as Epistar, are spending heavily on research and development. They produce red chips used with blue chips and a phosphor in hybrid warm white (3000K) LEDs with an Ra≥95 and a system efficacy > 123lm/W.
Since my last visit, it was interesting to see the continuing investment in induction lamps and luminaires. This time I was impressed by one manufacturer’s luminaire optical design for high-bay down-lights; the purpose-designed reflectors had good beam control and high LORs, making long-life induction lamps a serious competitor for LEDs in high-bay and other applications where maintenance costs are high due to access problems.
I have touched on only two aspects of Taiwan’s lighting industry. If you are a buyer, an OEM or an exporter, you might consider visiting or exhibiting at TILS 2013. Selina Lee, Trade Officer at the Taiwan Trade Centre Sydney, can help; Ph:02 9231 5959 or E: [email protected].
– Warren Julian
48 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 49
Events Calendar2013
4-6 June
SPARC International Lighting Eventwww.sparcevent.org/
SydNEy
9-12 June
Guangzhou International Lighting Exhibitionwww.light.messefrankfurt.com.cn
GUANGzHOU, CHINA
24-29 June
13th International Symposium on the Science and Technology of Lighting (LS13) www.lrc.rpi.edu/ls13/about.asp
TROy, NEW yORk
13-15 August
The LED Showwww.theledshow.com
LAS vEGAS, USA
24-26 September
LED Lighting Technologieswww.led-professional-symposium.com/symposium/LpS 2013–Introduction
bREGENz, AUSTRIA
3-5 October
IALD Enlighten Americas 2013www.iald.org/about/events/IALDEnlightenAmericas2013.asp
MONTRéAL, CANAdA
16-18 October
LED Japan/Strategies in Lightwww.sil-ledjapan.com
yOkOHAMA, JAPAN
30 October - 2 November
Professional Lighting Design Convention www.pld-c.com/
COPENHAGEN, dENMARk
7-9 November
10th China International Forum on Solid State Lightingwww.sslchina.org or www.china-led.net
GUANGzHOU, CHINA
14-16 November
GreenLighting Shanghai Expo and Forum 2013www.greenlgihtingchina.com
SHANGHAI, CHINA
19-21 November
Strategies in Light Europewww.sileurope.com
MUNICH, GERMANy
The resolution to declare 2015 as the International Year of Light was proposed by Ghana, Mexico, Russia and New Zealand. As well as being adopted by the UNESCO executive board, the resolution was co-signed by a further 28 board members: Angola, Bangladesh, Brazil, Burkina Faso, China, Congo, Cuba, Djibouti, Ecuador, Ethiopia, Gabon, Gambia, Kenya, Indonesia, Italy, Malawi, Nigeria, Peru, the Republic of Korea, Saudi Arabia, Spain, Thailand, Tunisia, the United Arab Emirates, the USA, Venezuela, and Zimbabwe. Other member states to support the initiative included Hungary, Serbia and South Africa.
Following UNESCO’s backing, the formal go-ahead for the International Year of Light in 2015 should lead to a final declaration by the UN in early 2013. The activities of the International Year of Light will be coordinated by an International Steering Committee to pull together the wide range of international partners involved, including learned societies, science and technology platforms, educational institutions, non-governmental and inter-governmental organizations at both the national and international level.
IllumINAtIoN dESIgN grAduAtESAt their graduation ceremony at the University of Sydney, held on 30th November, 2012, the Ben Baxter, Matthew Carey, Richard Cooper, Matthjew Croteau, Stephen Johnson, Michael Kellis, Mary Ann Lampano, Haley Laurence, James Nagel, Jason Obadiah, Lars Olander, Kristy Philp, Jinke Qian, Angela Suarez Lozano, Melisa Wijaya and Mo Lung Wong graduated with the MDesSc(illumination), Benjamin Scotman received the GradDipDesSc(Illumination) andWafaa Khalil the GradDipDesSc(Illumination).
NEw SoutH wAlES updAtEThe NSW Chapter would like to thank Murray Cameron for his service on the committee as Vice-President and Treasurer. Murray is succeeded by Leo Trimboli as Chapter Vice-President and James Vlassis as Treasurer. The Chapter also welcomes new committee member Derrick Edwards. The responsibilities of the NSW Management Committee for 2013 are: David Orwin, Chapter President; Vessi Ivanova, Board Member/Past President; Leo Trimboli, Vice-President/Technical Meetings/Standards; James Vlassis, Treasurer; Jan Primrose, Secretary Siobhan McNabb, Events; Ryan Shamier, Education/Awards; Julie Van Der Ley, Sidelights newsletter; Timothy Shotbolt, Membership and Derrick Edwards, Lighting Magazine.
QuEENSlANd updAtE In education news, the QUT postgraduate lighting course saw several students graduate in December 2012: Ryan Adamczyk received the Graduate Certificate in Lighting with Benjamin Marshel, Seily Mustika, Sonya Thie and Yunyu Zhu being awarded the Master of Lighting.
– Sonya Thie
SoutH AuStrAlIA updAtE A new direction for the Society in South AuStrAliARecently a group of people recognised that the local lighting industry needed a more active IES – they got together and nominated for the SA Chapter Management Committee (CMC). Throughout 2013, they will promote the Society to all those involved and interested in lighting.
The aim of the revitalised CMC is to add relevance to the Society, provide value for members and the industry, and
november 2012 – meeting review Members toured the recently completed South Australian Film Corporation’s Glenside Studios. It was conducted by Nicolette Di Lernia (Grieve Gillett Architect) and technical questions regarding the electrical services where answered by Josh Hall (Bestec). Grieve Gillett and Cox Richardson (architects by association) won the National AIA Award for Commercial Architecture for the Glenside Studios.
The facility is a two-storey heritage-listed building and a new one which houses two film studios, mixing rooms, sound effects room and a Dolby Premier accredited Studio. The heritage building was built in the late nineteenth century as a mental asylum and was used as offices prior to this project. Over the years building services have been added, mainly exposed due to some of the walls being up to 1m thick.
Mixing Theatre
to keep things simple while focusing on the following initiatives:
z regular and high quality meetings on a diverse range of lighting topics,
z informative and regular communication through a range of media,
z engaging and involving other associations with interests in lighting,
z conducting biennial Lighting Awards, and
z re-establishing a lighting education program through TAFE or another qualified RTO.
The South Australian CMC is: Mick Reidy (Chair), Anthony Davidson (Vice-Chair), Stephen Gladwin (Treasurer), Andrew Ferreira (Membership), Rob Hill (Marketing), Gary Talbot (Secretary), Graham Bilsborow (Technical), Matthew Martin (Meetings), Paula Furlani (Publications), Peter Buckley (Committee Member) and Belinda Hill (Committee Member).
50 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 51
The refurbishment removed all of the surface-run services, with the new mechanical plant in the adjacent new building. The old building’s toilets were converted into service risers. The lighting was designed to be discrete and not impact greatly on the fabric of the old building.
However, the new building is very different from its heritage-listed neighbour with a large glass foyer and sky bridge between the two sides of the building. There are two film studios of approximately 400m2 and 1000m2, with catwalks above. Provision has been made to allow film crews to run cabling via trays and install studio lights, dimmers etc.
The highlight of the evening was the Dolby Premier Mixing Theatre and the explanation of the design criteria regarding acoustics and lighting that didn’t add any ambient noise to the room. This same lighting requirement as for the recording studios was applied to all other rooms. There is also a 96-seat screening theatre for the private screening of the completed films.
South Australian IES members and guests at the Adelaide Luxus dealership.
LED LIGHTING SYSTEMS: ALL YOu NEED TO KNOWCompiled and Edited by Anil Valia260+xxxii pages, colour, 2012Price: INR 1800 (about AUD 32)Available from: [email protected] takes a brave person to write a book on LEDs, since it the field is changing so quickly that it is impossible for it to be up-to-date. However, Anil Valia has tried and the book gives an overview of LED lighting, covering the technology, thermal management, drivers and optical systems as well as retrofit “lamps” and purpose designed luminaires. He has compiled the book from available recourses and the quality of the information provided depends, to a large extent, on the sources he has chosen. The first 132 pages cover that technology. The remainder of the book looks at LED applications and concludes with standards, legislation and incentives for the uptake of LEDs. Most of the material is from US sources. For the price, it’s a useful introduction to a technology that is far from simple.
NEw lIgHtINg bookS
LED LIGHTING TECHNOLOGIES: WINNING APPROACHESPapers from the LED Professional Symposium + Expo 25-27 Sept 2012Luger Research, Austria 2012167 pages, monoPrice: EUR 97 (about AUD 125)Available from: www.shareit.com/product.html?productid=300549644&languageid=1ISBN 978-3-9503209-4-7This book contains the papers presented at the symposium held in September 2012. The papers would be of interest to those on LED product development. The book opens with four papers on Disruptive LED Technologies followed by three on LED Light Conversion Technologies. There are another 19 papers covering optical systems, electronic design, production methods, standardisation and measurement, system reliability and LEDs in outdoor applications. This is fascinating reading for those who want to keep up-to-date with in-depth information.
LIGHT TALK: A YEAR IN THE LIFE OF LIGHTMartin Klaasen380 pages, colourKlaasen Lighting Design, 2011Price: SGD49.94 (about AUD 40)Available from: www.kldesign.coISBN 978-981-07-0120-8This is the book of the blog: Martin Klaasen’s blog in which he wrote observations about light and lighting as he travelled from his home in Singapore to various cities in the region and Europe. A lot are about Australian cities. The thing is that I would never bother reading a blog on a daily basis, however, in the form of a book it is, strangely, compulsive reading. Each day is a page of the book, accounting for the number of pages in the book. The illustrations (photographs and sketches) are enjoyable. The text is also pleasurable with many acute observations, not only on lighting design but also on changes in technology and practise. I recommend it as a good read, perhaps on a plane; Martin wrote many of the blogs as he travelled. It is also generously priced.
– Warren Julian
At the sketch design stage, a recessed extrusion lighting system was suggested as a “workhorse” system comprising linear fluorescent and low wattage metal halide down-lights controlled via a DALI lighting control system. The lighting extrusion system was developed in conjunction with the manufacturer, with a 20% cost reduction per linear metre and significant time efficiencies in the installation and commissioning of the lighting control system. The perimeter fluorescent lighting along the western façade incorporates automated dimming in response to daylight availability, to reduce energy consumption. The final design has in a lighting energy density that is 25% below that required in the Building Code of Australia.
The showroom has been programmed to automatically reduce its internal lighting in the late evening and to activate LED colour change projectors to provide a dynamic lighting that is clearly visible after sunset when travelling along West Terrace.
– Paula Furlani
december 2012 – meeting reviewThe final event on the SA Chapter calendar for 2013 was a dinner at The Elephant & Castle Hotel followed by a tour of the recently completed “Lexus of Adelaide” dealership. On arrival at the dealership, members and friends were welcomed by the SA Chapter President, Mick Reidy who presented new members with their membership certificates.
The tour was conducted by Paul Camozzato of Lucid Consulting Australia, the designer of the building services, including the specialised lighting system. After the sun had set, Paul showed the flexibility of the new and used car areas’ lighting, which included colour-changing luminaires. The client’s specific requirements were:
z elevated illumination levels in both vertical and horizontal planes,
z energy efficiency, z the latest technology, z high colour rendition and “sparkle” to car surfaces,
z differentiation from other dealerships, and
z a centralised and intelligent lighting control system.
52 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 53
COMBRITE RANGE OF LIGHTING CONTROL GEAR
Comm-Chem materials Pty ltd5 Spireton Place Pendle Hill NSW 2145Ph: 02 9896 5466 Fax: 02 9896 5010www.commchem.com.au
l Electronic Ballast for T5 and T8 lampsl Electronic Ballasts for compact lampsl Dimmable Electronic Ballast 1-10V and DALIl Electronic HID Ballast 20W-250W to suit Metal
Halide and High Pressure Sodium Lampsl LED Drivers – Constant Current and
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110 Lewis RoadWantirna SouthVIC 3152 AUSTRALIA
Up Outdoor
Up Square Outdoor and Up Circular are part of a range of in-ground luminaires for interior and exterior use. The luminaires are built with high quality materials and manufacturing techniques to guarantee their IP67 protection rate. They are finished with a sandblasted stainless trim and are available in black and white. The combination of the protection rate and limited build-in depth, by use of LED technology and several light beam options, offer the architect great flexibility in his projects.
www.dedece.comph: 02 9360 2722
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Up Outdoor
Up Square Outdoor and Up Circular are part of a range of in-ground luminaires for interior and exterior use. The luminaires are built with high quality materials and manufacturing techniques to guarantee their IP67 protection rate. They are finished with a sandblasted stainless trim and are available in black and white. The combination of the protection rate and limited build-in depth, by use of LED technology and several light beam options, offer the architect great flexibility in his projects.
www.dedece.comph: 02 9360 2722
Advertentie dedece sept-okt ad-final.indd 1 7/11/2012 9:44:55
VICTORIAPO Box 391, Bentleigh VIC 3204 | Contact: John Daykin
T: +61 3 9553 2330 | F: +61 3 9553 2335M: 0408 542 805 | E: [email protected]
SYDNEY8/42 Leighton Place, Hornsby NSW 2077 | Contact: Ned Kacavenda
T: +61 2 9476 6966 | F: +61 2 9477 1339E: [email protected]
www.dascolighting.com.auAgent for: Architectural Lighting Products 39 Tinning Street Brunswick VIC 3056
PO BOX 5084 Moreland West VIC 3055P: 03 9222 5522F: 03 9222 5521E: [email protected]
Efficient Lighting Systems
With over 20 years of experience in manufacturing light fittings, ELS knows what is required to make quality products. ELS is also the Australian distributor of Ligman exterior lighting products and Spittler interior lighting products. This diverse range offers top quality, energy efficient, SAA and EMC approved products suitable for all Australian installations.
l Industrial, Commercial, Residential, Retaill Architectural, Landscapel Lighting package specialistl Lighting project specialistl 40 Years lighting experiencel SAA & EMC compliant productl Member Lighting Council of Australia1/19 Macquarie Drv, Thomastown, Vic 3074PO Box 24 Sth Morang, Vic 3752T: 03 9464 6642F: 03 9464 5504E: [email protected]
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54 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 55
L E D P R O F E S S I O N A L S E R I E S
L E DD O W N L I G H T
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MIN IM IS ING YOUR POWER CONSUMPT ION
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Unique square Double Batwing
light output
www.gammaillumination.com NSW (02) 9822 7333 / VIC (03) 9801 7777 / QLD (07) 3806 4466 / SA (08) 8260 1444 / WA (08) 9377 1322 / ACT (02) 6241 1388
HEAD OFFICE & MANUFACTURING42-46 Scrivener St, Warwick Farm, NSW 2170, Australia
Tel +61 2 9822 7333 Fax +61 2 9822 [email protected]
B O R N T O P E R F O R M 30W – 60W
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Mobile: +61 (0)406 754 724 Email: [email protected] 14/7 Hoyle Ave, Castle Hill NSW 2154 Australia
www.norlight.com.au
SpecialiSing inn leD DiSplaY FiXTUReSn leD ReceSSeD lUMinaiReS n MeTal HaliDe lUMinaiReS
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commercial & architectural lightingcommercial & architectural lightingPTYLTD
We have been a leading manufacturer of architectural linear lighting in the Australasia region for over 30 years. Our five system families, in-house design and custom-made fittings to client order are now reaching a broader international market.Products & Services: Our award-winning 85 Beam and Multibeam luminaires joined Ledpod rail and the robust new IP66 outdoor family, to become our most popular fittings in 2012.
Contact: Cliff Hadley, International Sales & Marketing ManagerUnit 2, 2 Southridge Street, Eastern Creek, 2766 NSW, AustraliaPhone: + 61 2 9851 3300 Email: [email protected]
LOFOOTAvailable from:
Lighting Options Australia50 Kent Street, CANNINGTON WA 6107P: 08 6142 4977 M: 0410 575 180 E: [email protected]: www.lightingoptionsaustralia.com.au
A PHILOSOPHY IN LIGHT
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SOLAR SOLUTIONSSOLAR SOLUTIONS
07 5559 1666www.orionsolar.com.au
Unit 3630 Mudgeeraba Road Worongary QLD 4213
Recognised as the leading sup-plier of solar LED solutions to meet
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Philips Lighting is a global leader in lighting, providing a unique combination of technologies which include lamps, optics, luminaires, controls and accessories.
Sales/Service toll free 1300 304 404Project Quotes 1300 915 [email protected]
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56 LIGHTING MAGAZINE | February/March 2013
Event Collaborator
Principal Sponsors:
World class lighting exhibition
International speaker program
Spectacular Gala Dinner
4 – 6 June 2013
Premier event for thousands of major lighting stakeholders,
manufacturers, suppliers and allied professionals
www.sparcevent.org
4 – 6 June 2013 Overseas Passenger Terminal, Circular Quay, Sydney Australia
Displays, Opening Ceremony, Speaker Program, Happy Hour, Gala Dinner
Held in conjunction with magnificent Vivid Sydney, the Southern Hemisphere’s biggest festival of light, music and ideas
Motoko Ishii, award winning lighting designer, Tokyo
Tim Greer, Tonkin Zulaikha Greer Architects, Sydney
Emmanuel Clair, Light Cibles, global lighting design consultancy, Paris, Madrid, Singapore and Tianjin
Wendy Davis, A/Prof. Faculty of Architecture, Design and Planning, University of Sydney Paul Beale, Electrolight, architectural lighting design consultancy, MelbourneJohn Johnson, Lightwaves, specialist lighting consultancy, Norfolk, UK
SPEAKERS:
To register your interest, receive SPARC eNews or enquire about exhibition space, please email [email protected] or go to www.sparcevent.org