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WILA N4 - Read our interview with Florence Lam and take a look at our new award winning luminaire - Transparency

May 15, 2015



WILA N4 news brochure, launching new products and giving industry insights

  • 1. + ++ + + + + + + + + ++ + + + + + + + + ++ + + + + + + + N4 WILA Lichttechnik GmbH Postfach 26 11 D 58596 Iserlohn Vdeweg 9-11 D 58638 Iserlohn T +49 2371 823 0 F +49 2371 823 200 [email protected] WILA Lighting Limited 8-10 The Quadrangle Grove Technology Park Wantage Oxfordshire OX12 9FA T +44 1235 773 500 F +44 1235 773 533 [email protected] ID A2450-0314 News People Projects Products Interview Florence Lam, Arup The positive influence of daylight. Page 4 Robert Aitken Institute LED lighting solution in research. Page 10 The New Transparency LED pendant luminaires with a minimalist design. Page 16 New Linear LED Product Range Modular lighting system Linic. Page 24 New Surface Illumination bet zono Expansion of the award winning LED product family. Page 28 Technology in Detail Transparency LED Pendant Luminaires Page 36 Linic LED Lighting System Page 38 bet zono LED Downlights Page 42 Accessories Page 48 N4News

2. A mind once stretched by a new idea, never goes back to its original dimensions. Oliver Wendell Holmes Snr 1 WILA 3. 3D Editorial Virtual Reality Light and architecture work in three dimensions. Light plays a particularly pivotal role in the perception of objects, room peripheries and, of course, people. So wouldnt it be great if you could actually also see the innovations featured in this Brochure in 3D? Follow the brief instructions and you will be able to view and move selected innovations from this brochure on your device in 3D within your home or office. One key point: the relevant page of the brochure must remain within your mobile devices field of vision. Learn more about our customised lighting solutions for more freedom in architectural lighting: New Exceptional LED Pendant Luminaire The transparent material of this pendant luminaire appears invisible when off, but when switched on, a combination of reflection and refraction precisely guides the light. A concept with such outstanding performance, it was awarded with both the IF Product Design and red dot Design award. New Linear LED Luminaire System The Linic product family is based on a modular concept: optimised for various installation and lighting technology requirements. This simplifies the creation of customised lines of light. New highly efficient LED surface illumination The bet zono family of products stands for the most efficient surface illumination with a system efficiency of up to 105 Llm/W. The 30 cut-off angle reduces direct glare with all Downlights suitable for VDU workstations ensuring particularly high visual comfort. The range is rounded off by ultra-flat Downlights with 49 mm recessed depth, which provide an ideal solution especially for restricted space in the suspended ceiling. Enjoy the fourth issue of our News Brochure packed with exciting inspirations. Peter Le Manquais, Group Technical Director 2. Scan the WILA QR Code 3. As soon as you get to a page with this symbol a 3D image will be displayed. iPhone App iPad App Android App 1. Use one of the top QR codes to download the free Junaio Browser to your Smartphone or iPad 3 WILA2 4. Interview Making lighting part of a wider distributed intelligence - an internet of light ecosystem - can potentially help unlock rich and new data from lighting networks. Interview with Florence Lam, Global Practice Leader for Lighting Design at Arup, London 4 5 WILA 5. What advice would you give to young lighting designers? What should they pay attention to, and what might be less important? The key to a great piece of lighting design is not HOW one goes about designing it or WHAT one designs with. It is the WHY behind a lighting concept and design thinking. You believe in Total Architecture solutions, what is the biggest difference to the traditional lighting design approach? Total Architecture is the overall philosophy of Arup. This holistic approach lies at the heart of what Arup does and encompasses the concept, great things can result when all relevant design decisions have been considered together and have been integrated into a whole by a well organised team. For the lighting practice, this means combining lighting creativity with the highly-skilled expertise of Arups engineers and environmental specialists. You have worked on a lot of remarkable projects, where daylight played a key role. How do you combine natural and artificial light? It is our responsibility to deliver a lighting design that helps our client to create sustainable buildings, in harmony with aesthetics and vision. We strive to continually offer fresh insight as to how occupied spaces can become more alive and in-touch with the natural environment. Daylight plays a special role in our work. It can enhance architecture, improve the way people feel and reduce our reliance on electricity. Striking a balance between daylight and electric light requires creative as well as scientific thinking. The quintessence of this is to control the daylight, tame it where needed, without sacrificing the narration of it, or its meaning. Buildings are complex structures. How do you make sure not to lose control considering the different technical requirements and users wishes? I would advocate being inquisitive and collaborative yet staying focused on doing great work and an underlying conviction that good design can make a positive impact in the world and help shape a sustainable future. After many years of working in the industry you are now heading the lighting design department at Arup. Did you always want to be a lighting designer? I wanted to work with light ever since discovering this metaphorical medium after helping out with a student production at university. However, I never thought of being a lighting designer as such. I simply was not aware of the existence of such a profession until after my postgraduate study at the Bartlett School of Architecture. Have you ever regretted your decision? Yes, a low point happened but it was also a turning point when I discovered the true nature of my passion for light. In the early days of my career, I held the misconception that design equates only to being artistic; that engineers could not design with big D-thinking, I later came to realise that the two are not mutually exclusive. I have learnt that the ability to have a vision is really what matters. Lighting adds value not just to enable visual functions but to create impact through both perception and the psychological experience. Thinking creatively is essential and involves imagination, intuition and deliberate choice: not just being artistic. Do you remember the first project you did the lighting design for and if so what was it? My first project as a pure lighting designer was The London Millennium Bridge. What do you consider to be the biggest changes in lighting design over the years? Embracing daylight and telematics as part of lighting experience design in this ecological and digital age. You won the Lighting Designer of the Year award in 2013, what does this award mean to you? Where do you keep it? Being the first woman to win the coveted Lighting Designer of the Year Award means a lot to me. It is an important milestone on my career journey and it has given me a memorable moment to celebrate with my team. I keep the trophy next to me in my office. Whilst it is a great honour to have been given this award, it represents a stepping stone, albeit a significant one, showing me how far I have come but also reminding me how much further I want to go. Your website says that Arup shapes a better world. How do you put this mission of your company into practice in lighting? Shaping a sustainable future - particularly through the urban environment - will be one of the greatest challenges in the 21st century. The life of our cities after dark is only one element of this challenge, but one that needs to be addressed in a wider social, economic, and environmental context. To shape a better world is not just about energy efficiency but also human efficiency. Strategic lighting design can have an impact on the Total Architecture of the city, both today and in years to come. In addition at Arup: art, design and technology are combined. What is your approach to that in your daily work? Design thinking starts with creating authentic conceptual designs and ends with applying technical knowledge. Adopting state of the art technology to ensure concepts become viable solutions that are as positive for people as they are sustainable for the environment and for businesses is also a central to delivering a seamless combination of these factors. A bit outside the box; what is your favourite piece of art? I like art that serves a purpose, a piece of design. At this moment in time, my favourite is the Sky Reflector-Net in the Fulton Center Oculus in New York. What inspires you? Nature - it is endlessly inspiring, intriguing and envolving. What current developments in lighting design are especially exciting and forward-looking in your opinion? Im interested in the concept of making lighting part of a wider distributed intelligence - an internet of light ecosystem - which could potentially help unlock rich and new data from lighting networks. And what are the drivers for these developments? The rapid advancements of the technology drive innovation, the nature of infrastructure and lifestyle changes. > Interview 6 7 WILA 6. Interview Personal Florence Lam BA (Cantab.) MA (Cantab.) MSc CEng FIET FCIBSE FSLL After graduating in Engineering at the University of Cambridge in 1989, Florence took a postgraduate course on Light and Lighting at the Bartlett School of Architecture. Since then she has worked for Arup, an international design engineering and business consulting firm, where she is now a Director. Establishing Arups lighting design practice in 2001, Florence now leads a global team of 70+ staff worldwide, representing a diverse national backgrounds, education and experience; from engineer