Lighting : Lighting October 2014 - Vol 34 Issue 5
28 LIGHTING MAGAZINE | October/November 2014 October/November 2014 | LIGHTING MAGAZINE 29 In recent years new product has pretty much revolved around various forms of LED. Technical, high performance downlighters have become a useful tool for achieving required illuminance values whilst complying with energy codes. And some LED has been used in very creative applications to realise alternatives for linear concealed systems and endless decorative fixtures. We have recently been involved in a high ceiling; large volume space, where we sought out product which best addressed our need for task levels of light. This involved a close collaborative process with the manufacturer to ensure all aspects of the selection process were fulfilled, such as efficacy, colour temperature and CRI. What best suits our design philosophy are techniques rather than product, although, to realise the philosophy, product needs to be used, so, at times the influence can be imagined, or swayed by manufactured stuff, it all comes back to the subject, task, project ... Are there any lighting technologies (such as LiFi, OLEDs, smart lighting, control systems etc.) on the horizon that could transform the market in the same way that LEDs have? If so, how do you envisage them being used? I am sure I may be proven wrong; however all these up-and-coming gismos and gadgets will find their place in the lighting market, along with the unforseen problems they will cause. However the way LED’s have taken over, in a relatively short period of time, will be hard to beat. Basically all “accepted” light sources have/or are becoming redundant ... rarely do we see the common foot soldier march into our office with Metal Halide/ fluorescent etc. in their kit bag ... it’s LED or? The future appears to be control, flexibility, allowing the users, particularly of commercial spaces to reconfigure lights groups and switching patterns, at DesignerQ&A will. This of course can be achieved now, however what we hear is being developed in the backrooms is more remarkable and more refined. Lighting control, as part of the project work in our office practice, is crucial to the successful outcome of our design concepts. Light texture, achieved through combining groups or individual lights at different intensities is the key to the desired experience of a space. A higher level of control, which is emerging and will only become more sophisticated, is exciting, as are the methods of delivering the control. Devices such as smart phones will/have become a powerful tool for all sorts of uses and to think one of these devices will be as functional as what were, very expensive wall mounted screens is, again, fantastic. Do the competing demands of energy efficiency, budget and visual aesthetics limit you creativity? If so how? As a designer and a bit of a purist, the fact that the regulatory system frowns on incandescent sources is a shame, however times roll on and in reality, except at home, (my home)!, we have to conform. We have to work within the reality of the times and it is pleasing to see that the very clever people developing the LED, as a mainstream light source are developing sources that are indeed very nearly replicating halogen in terms of, high CRI values, colour temperature, reflector and lens/optics based light control and successful dimming. Still waiting for the sparkle! Budgets are the basis of any project and should you ignore budgets, or prepare them without due thought, you do so at your own peril. This may not apply to all, however having worked in the development scene on the Gold Coast for 33 years I have a very good understanding of the consequence of not adhering to budgets particularly if they are prepared by yourself. They should not, in my opinion, limit creativity. The belief that fine creative outcomes are a consequence of the size of the pot are misguided, sure, if one is wanting to create amazing effects using the very up to the moment lighting equipment, it will cost and this needs to be established very early on and budgets set accordingly. However the term creative does not just cover “Casino wow”, we have been involved in Resorts with very restrained lighting, with lots of “different wow”, for very little costs. The demands of budgets are a bit of a furphy ... it is how a budget is established and is it realistic with the expectations of the particular client? What is your favourite project and why? A tough question, given that I have been involved in numerous through my years with NDY and over 15 years in my own company, it is hard to signal out one in particular. A memorable project was The Strand in Townsville, 15 years ago. This was a project, one of our first, where everyone had a clear goal in mind, an enthusiastic Mayor in Tony Mooney, great support from within the Council, a clever Landscape Architect, Wal Smith + staff, structures Architects Ken Tippet and an equally enthusiastic Project Management team who put it together in record time. Back then, we presented the project using black card (several boards to cover the 2klm long The future appears to be control, flexibility, allowing the users, particularly of commercial spaces to reconfigure lights groups and switching patterns, at will. This of course can be achieved now, however what we hear is being developed in the backrooms is more remarkable and more refined. site) with the lighting layout overlayed on the site planning using ultraviolet reactive markers and paints. Under ultraviolet light, in a site shed on the site, we presented the scheme in a very spectacular way to the Mayor and all in attendance and from my recollection we received a round of applause ... and, more importantly, total acceptance of the scheme from that moment, decisive and very rewarding. We went on to use techniques in this project such as in ground LED markers (BLUE)! (Developed by Tony Vine, at that time, Accent Lighting, Brisbane) this type of luminaire was not available as a mainstream product, anywhere that we knew of ... now they are everywhere, around the world. There were a number of other bespoke light fixtures on this expansive public space that introduced colour via glass dichroic filters in front of traditional light sources, pedestrian light poles, all of which were influenced by the site, the Great Barrier Reef and the laid back something that is hard to describe, about FNQ. It was and still is, in my opinion, one of the best public spaces in Australia, if not (what I have seen) in the world. However I have many favourites, Resorts, there are various, residences are special because they are so personal, being given the opportunity to deliver a pleasant outcome for someone’s personal enjoyment is probably the pick ... but no names, their personal!
Lighting December 2014 - Vol 34 Issue 6
Lighting August 2014 - Vol34 Issue 4