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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

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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

SECRETARIATPO Box 7077 Yarralumla ACT 2600

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New Zealand Chapter

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Auckland 10 New Zealand


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Lighting the official publication of the IESANZ – The Lighting Society is published bi-monthly by RALA Information Services.

EdIToR Dr Warren Julian AM, Emeritus Professor,

Faculty of Architecture, Design & Planning,

University of Sydney NSW 2006, AUSTRALIA,


IES EdIToRIAL AdVISoR Vessi Ivanova


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Volume 33, Issue One

February/March 2013

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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.

[email protected]

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.

[email protected]


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


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).


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


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


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


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


Q u e e N s L a N d C h a p t e r

Unique bespoke “Tester” luminaire


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.


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.


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


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


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.


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


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.


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


38 LIGHTING MAGAZINE | February/March 2013 February/March 2013 | LIGHTING MAGAZINE 39February/March 2013 | LIGHTING MAGAZINE 3938 LIGHTING MAGAZINE | February/March 2013

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.


“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



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]


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.


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


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).


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.


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

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Constant Voltagel Emergency Lighting invertersl Australian and International Approvalsl EMC Compliant

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14 Leighton Place, Hornsby NSW 2077Ph: (02) 9477 7716 • Fax (02) 9477 7732

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t 03 9800 5600e [email protected] www.adlt.com.au

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

Advertentie dedece sept-okt ad-final.indd 1 7/11/2012 9:44:55

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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L E D P R O F E S S I O N A L S E R I E S

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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

Contact Hugh RabonePhone: +61 (0)2 9634 6244 Fax: +61 (0)2 9634 3422

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

n Bca cOMpliancen ligHTing planS n ligHTing SOlUTiOnS

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

PROJECTORS \ IN-GROUNDS \ BOLLARDS \ LIGHT COLUMNS \ POST TOPS

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

outdoor off-grid lighting needs. Trusted by municipal, govern-

ment and commercial agencies, our EverGEN solar LED lighting systems deliver specifier grade

performance, making them ideal for street, parking lot, park and

pathway applications.

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Philips Lighting See what light can do

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]

www.lighting.philips.com.au

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

Harvesting Daylight - Rala › documents › Lighting_February2013_Final_lo-res_… · Trevor...

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