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December 2013/January 2014

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4 LIGHTING MAGAZINE | December 2013/January 2014 December 2013/January 2014 | LIGHTING MAGAZINE 5

contentsDecember 2013/January 2014

13 IeSanZ chapter Lighting Design awards 2013

Compiled by Warren Julian

14 Queensland Chapter19 Victoria Chapter including

Tasmania25 South Australia Chapter

including Northern Territory33 New South Wales Chapter

including the ACT

41 IeSanZ chapter Luminaire Design awards 2013

Compiled by Warren Julian

42 Queensland Chapter43 Victoria Chapter47 New South Wales

53 Designer Q&a With Mike Sparrow, Senior Lighting Engineer

– Design | Building, Lend Lease, NSW

54 magic, mayhem and a night in the clink: inside the 2013 IeSanZ Lighting Design awards

By Claire Thompson

61 Visiting the world’s second-largest lighting fair

By Warren Julian

6 Who’s Who booking Form

10 From the editor

12 President’s message

60 IeS corporate members

62 events calendar

Ibc Subscription Form

Illuminating Engineering Society

of Australia and New Zealand Ltd

SECRETARIATPO Box 7077 Yarralumla ACT 2600

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W: www.iesanz.org

CHAPTERSNew South Wales Chapter

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Tel: 61 2 8922 9615 Fax: 61 2 8580 5716

E: [email protected], www.iesanz.org

Victoria Chapter

PO Box 3260, Moorabbin East VIC 3189

P: 0409 235 974


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Paula Furlani

GPO Box 1461, Adelaide SA 5001


Western Australia Chapter

PO Box 1020, West Perth WA 6872

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Queensland Chapter

PO Box 3275 South Brisbane QLD 4210

P: +61 7 3844 4910 F: +61 7 3846 5087


New Zealand Chapter

PO Box 8134 Symonds Street

Auckland New Zealand


Canberra Branch

c/- John Griggs

10-12 Colbee Court Philip ACT 2606


LIgHTINg CoRRESPoNDENTSNew South Wales Chapter

Derrick Edwards


Victoria Chapter

James Murrell


South Australia/Northern Territory Chapter

Paula Furlani


Western Australia Chapter

Brendon Nazar


Queensland Chapter

Sonya Thie


New Zealand Chapter

Erin Kilpatrick


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Illuminating Engineering Society of Australia and New Zealand Ltd.

Volume 33, Issue Six December 2013/

January 2014

FRONT COVER:Gamma Illumination

PROJECT:UNSW Built Environment

Red Centre Building

Highlighting the latest artworks in the LuminoCity Exhibition at the

UNSW Red Centre Building.

Featuring the GAMMA LED Track Professional Series. Aesthetically

pleasing with bold form and function to accommodate all facets of lighting design.

Also see

Inside Front Cover and page 1Pages 2-3 of this edition

63 Lighting Suppliers Directory Profiling companies & lighting solutions

Season’s Greetings from the team at rala

as you celebrate the spirit of the season we would like to extend our genuine thanks for your loyalty and ongoing

support throughout the year.

In 2014 we will continue to work with you to reach your goals and we look

forward to contributing to your success. We are committed to providing high

quality and innovative content making Lighting magazine the ideal vehicle to support the growth of your business.

all of us at Lighting magazine again join in saying “thank you” and

wishing you season’s greetings and a prosperous new year.

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


SPECIAL FEATuRES WRITER Claire Thompson

PubLISHER & MANAgINg EDIToR Barbara Cail


ADVERTISINg/MARKETINg/INTEgRATED SoLuTIoNSAdam Cail


ADVERTISINg – THE gREATER CHINA | ASIA Ms Judy Wang

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E: [email protected], T: 0408 290 440

December 2013/January 2014 | LIGHTING MAGAZINE 7

MikE SpArroW

Mike Sparrow has been with Lend Lease since 1984. His earlier forays into lighting were

locating lights down mine shafts and on Petro Chemical installations. Offices and buildings

came next, which he thought were relatively easy. He worked on Centre Point Tower

with Don Cook from Quigen & Cook, and also did crazy cold cathode ceiling design for

the cosmopolitan shopping centre of Double Bay about 35 years ago. About the same

time, he asked Dick Chappell to make him special chandeliers/pendants for Shell Harbour

Workers Club. He works mainly for Lend Lease’s Retail and Commercial business units, for

projects throughout Australia; picking up the occasional project in Asia. He has a great

support team at Lend Lease – Jeff, Angela, Greg & Alex – without them, he says, his life

would be a lot harder.

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.

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10 LIGHTING MAGAZINE | December 2013/January 2014

f r o m t h e e d i t o r

I fly fairly frequently to East Asia and I prefer to take daytime flights. These might waste a day but the advantage is that a mid-morning flight from Sydney gets its destination in the early evening, depending upon the time zone and daylight saving. Even with a three hour time difference, you can have a normal night’s activity and go to bed to suit your body clock. (It is often difficult to get the daytime return flights, although some carriers have them.)

On a recent flight to Hong Kong on Qantas, once the meal service was over I was told to close the window shade. I declined, saying that I had no desire to sleep at noon and that it was better for the body clock to have daylight for melatonin suppression, so that I could sleep normally after arrival rather than being alert from seven hours’ sleep in the middle of the day. I was told it was Qantas’ policy to close the shades [for daytime flights] and that I was being unreasonable. I was later visited by the ironically tilted “customer services manager” (CSM) who employed a deft combination of selective deafness, condescension and passive aggression to get his way. I had suggested giving eyeshades to those who genuinely wanted to sleep at noon and that if it were Qantas’ policy to fly dark planes, it should buy windowless freighters to obviate this kind of trouble. They might also be cheaper to buy and maintain. I must have been recorded as a loony or trouble maker because on subsequent flights I received undue, sycophantic treatment from CSMs who acted as though they knew me.

I was surprised to receive a phone call from a manager in Sydney who (also surprisingly) seemed genuinely interested in the goings on. She called back a couple of times, after investigation, and said that it isn’t Qantas’ policy to close the shades on daytime flights. So, what it was about was quieting the passengers (oops, “customers”), perhaps to reduce alcohol consumption but probably to reduce crew work. The flight was unpleasant because I was made to feel selfish and

unreasonable although I was aware of the ploy by the crew. I would have expected the crew to be only too aware of the problems of jet lag (in this case induced jet lag) but maybe they wanted to catch up on sleep from a previous trip or just didn’t want to work.

One of the trips was to Beijing where I had the pleasure of officiating at the International Solid State Lighting Alliance’s outstanding achievement awards where awards were presented to the inventors of the LED (red, blue green and amber) and of OLEDs. It was an honour to be able to meet these outstanding scientists.

This issue is also replete with awards for outstanding achievement – in this case for lighting design and luminaire design in Australia and New Zealand. I would like to congratulate the winners and also all the entrants for allowing their work to be scrutinised by judging panels.

As I mentioned in last year’s December editorial, the lighting industry is in turmoil as it tries to cope with the change to solid state lighting. This year, there is a glimmer of some stability, in terms of realistic expectations of LED performance. At least in the professional end of the market, many of the outrageous performance claims have been dropped and there have been real efforts made to reduce glare (at the cost of efficacy). However, there is still a long way to go.

I hope you enjoy this issue and that 2014 brings more stability and certainty to our industry. Lighting is part of the industry and it has to cope with not only the changes in manufacturing and importing but also the changes sweeping the specialist publishing industry. Lighting has managed to continue in 2013 due to the support shown by advertisers, those who write for it and Rala’s efforts in production, marketing and distribution.

Maybe, in 2014, we will be out of the twilight zone.

– Warren Julian

Warren JulianEditor

Flying in the twilight zone

MAIN CATALOGUE 4

2013-2015

December 2013/January 2014 | LIGHTING MAGAZINE 1312 LIGHTING MAGAZINE | December 2013/January 2014

p r e s i d e n t ’ s m e s s a g e

From the perspective of President of the Society it is particularly gratifying to see light being used so graphically in celebration at this time of year. I refer to the many homes all over Australia and New Zealand that are richly decorated with lights celebrating the festive season. The people that do this come from all sectors of society, including members of the lighting industry. Kerry Simpson FIES is a serial offender here in Queensland and I am sure there are many similar examples in other states. None of this done for personal gain but often on behalf of charities or perhaps the sheer, testosterone fuelled joy of having a bigger and better display than your neighbour. Not a motivation as noble as charity perhaps, but effective none the less in transforming suburbia into a place of wonder for the young and an oasis of well-earned peace for their parents. Nor would it be right to overlook the efforts of local authorities in elevating numerous streetscapes and facilities from the mundane and functional into something more captivating and festive. Regardless of one’s personal beliefs you have to recognise and appreciate these efforts. To these people a very big thank you.

So why do we do this each year? My favourite Christmas story is that of the British and German troops during WW1. During a lull in fighting on Christmas day, they came together in no-mans-land, had a football match, sang carols and exchanged meagre gifts. A clearer affirmation of humanity is difficult to imagine, and cause for celebration in itself. I have no way of appreciating why this came about, but I would speculate that their circumstances were so dire, and their prospects so grim, that thoughts of family and home overcame blind observance of duty. Perhaps for them Christmas belonged to people and

national interest can wait for just one day. For them enough was enough.

No genuine parallel can, nor should be, drawn between the experiences of WW1 troops and those in the lighting industry, other than do we choose to accept the unacceptable. For example, lighting nonsense masquerading as lighting design, particularly when ‘legitimised’ through the use of software. Explanations for this are many, but let us say that ignorance plays a big role. Regrettably, ignorance exists in both providers and assessors of lighting schemes, and whilst uncommon still occurs with an irritating frequency that cannot be considered an irrelevance. On the off chance that this message reaches anyone harbouring any lingering doubts I offer two small pieces of advice:

1. The ability to use software does not make one a lighting designer, nor is it demonstration of design competency. Good design is the best demonstration of competency and experience its best evidence. Software is a tool, used to better articulate concepts, nothing more. Like any other tool, software is only as good as those that use it.

2. If unsure then seek advice. Ignorance may not be a crime, but, in any field, nor should it be an acceptable situation.

When it comes to lighting of all forms, our Society has members that know how to do it, and do it well. Our skillsets extend beyond design to critical examination of lighting schemes, not just for the information the scheme should contain but also how that was achieved. The Society will continue to promote good lighting practice and the skills of its members wherever and whenever it can but we need your help to underpin this message and not accept the unacceptable.

All that remains is to wish you all a Merry Christmas and a Happy New Year.

Barry GullPresidentIES: The Lighting Society

Christmas lights and lighting “design” software

December 2013/January 2014 | LIGHTING MAGAZINE 13

f e a t u r e

The Illuminating engineering Society of australia and new Zealand

conducts annual lighting design awards in most of its chapters.

This article reports on the 2013 awards of all of the chapters,

except Western australia and new Zealand.

both will conduct awards in 2014.

IESANZ ChapterLighting Design

Awards 2013

CoMpilEd By WArrEN JuliAN

Queensland Chapter ViCtoria Chapter inCluding tasmania

new south wales Chapter inCluding aCt

south australia Chapter inCluding northern territory


Award of Commendation To ASh doWThWAiTE oF ToNy doWThWAiTE liGhTiNG dESiGN pTy lTd

For ThE FAçAdE oF ThE Gold CoAST uNiVErSiTy hoSpiTAl CAr pArk

Award of Commendation

To QuANG TrAN oF MEdlANd METropoliS WiTh

hASSEll ArChiTECTS For ThE GloBAl ChANGE

iNSTiTuTE (GCi), uNiVErSiTy oF QuEENSlANd

Designer’s statement: The lighting plays a

pivotal role in the architectural appearance of

the building and reflects the sustainable, highly

energy efficient and innovative character of the

building. The lighting design features:

z 100% use of LED fittings for the front of

house areas. The specified LED fittings have

high LORs and excellent glare control; the direct

lighting and indirect lighting is well-planned and

incorporated into the ceiling structure to provide

a uniform and pleasing-to-the-eye environment in

the teaching areas.

z The basement plant room is designed to

be an “exhibition space” to demonstrate how

the equipment works for education purposes.

Lighting for this area is designed to suit a

technical showroom with track and spotlights

highlighting working technology.

z Lighting in the Atrium is designed to respect

the heritage values of the adjacent Steele

building that borders the atrium of GCI.

The lighting design is a classic example of

balancing lighting components – ambient, accent

and scenic using the state-of-the-art LED fittings

to achieve the best outcome in a modern context.

Judges’ comments: Some really nice ideas on

energy etc. I liked the ‘integrated lighting recesses’,

... generally good even illumination and integration

of the physical layout, abetted by some discrete

up lighting into concrete coves. The seminar

room lighting was very well integrated into the

internal architecture of the building. Highlighting

of plant equipment in the basement for teaching

and illustrative purposes was well done. Key and

central to the project was the exploration and

execution of advanced sustainability targets and

outcomes and this has been followed through

well with the lighting installation. Lighting added

sophistication to the architecture.

Suppliers: Raylinc/Erco, Inlite, Klik Systems

and Aldabra

A distant view on approaching the car park (above) and details (below).

Designer’s statement: The GCUH

Car Park is six-storey facility for the

exclusive use by the new Gold Hospital

patrons and staff. The lighting brief was

to reduce the impact of the internal car

park lighting systems to the surrounding

properties and roadways, as this had

been an issue on previous LORA car

parking facilities.

A car park is a car park – nothing to

exciting in its own right – however the

façade has been designed to be visually

striking with architectural panels and

cladding provide building air flow and

to enhance it’s visual appearance. The

exterior façade lighting concept was to

apply dynamic front lighting to reduce

the apparent brightness of the interior

lighting. By mounting a combination

of projectors on the top of light poles

and restricting the colour change to

hues of yellow, green and white, certain

colours were able to accentuate the

architectural palette.

The black luminaires and poles ensure

that they are unobtrusive within the

landscape during the day and seem

to disappear during the night-time

experience. With narrow beams and

a total load under 2kW, the impact of

light pollution and energy are both

minimised.

Judges’ comments: Nice outcome for

doing something a little different. Good

idea/concept. Neat idea, generally

executed well, practical and efficient use

of LED RGBW projectors, a well thought

out, subtly creative solution. Great use

of architectural lighting technique for a

usually boring application.

Supplier: Sill The basement “exhibition space” (top) and a view of the atrium (bottom).

There were ten entries in 2013 with four receiving commendations and one excellence award. The 2013 judging panel was chaired by Doug Brimblecombe (Lighting and Electrical Services manager QPAC) with Neil Wills (Tech Manager

Queensland Chapter

Lumascape), Rob Hugall (Tech Director Aurecon), Scott Howarth (landscape Architect AECOM), Gary Watson (Senior Account Manager Zumtobel), Glen Millar (Practice Director BVN Donovan Hill), Richard Goodall (Account Manager Eagle Lighting), Paul Rice (Senior Architect McVeigh Consultants) and Patrick Rident-Tiercelet (Manager LCA Holdings).


Designer’s statement: The Brisbane City

Council’s brief for the auditorium was not just

to reinstate the hall as it was but to create a

viable venue space that is ideal for large-scale

gala events, ceremonies, concerts, performances

and trade shows.

The lighting needed to: enhance the existing

architectural features with in the space; be

flexible and able to meet the needs of a

wide range of different events; improve the

stage lighting infrastructure to support the

performance requirements of the venue; provide

a dynamic and theatrical overlay to support the

use of the auditorium as a function space; and be

a safe and attractive place for all ages.

There were a number of parties involved in

the project often with different and sometimes

conflicting agendas. Design Stage worked very

closely with HBO, EMTB and Tanner Architects

to deliver a solution that is not only sympathetic

to the architecture and satisfies the requirements

of all the parties involved but goes beyond using

innovative use of LEDs and LED technology that

enhances the heritage architecture and creates a

dynamic event space.

Judges’ comments: The dome is a

very powerful device. It is in its self a luminaire,

controversial, LED active colour-changing ceiling

in neo classical City Hall! A dangerous weapon

in the wrong hands, however, a technically sound

solution that met and solved many difficulties.

A very good outcome was achieved through

a design and construct process for this project,

which is a credit to the technical skill of the

specialist lighting consultants. Technically the

installation (especially the ‘dome’ lighting)

was very impressive as a completed assembly

including detailing to do with replacement of

the linear LED fittings and integration with the

technical back of house systems which were

done by the same consultants.

Suppliers: Erco, Philips, KKDC

and Anolis


To JAMES SpArkS ANd phil ViNEy oF dESiGN STAGE

For ThE MAiN AudiToriuM oF BriSBANE CiTy hAll

Designer’s statement: The project objective was

to provide a workplace that would enhance the

existing work culture by creating an open, flexible

and collaborative leading edge workplace that

will attract and retain the best employees. Use

of natural and artificial lighting was the core

component of achieving this objective and the

quality of light within these spaces is a tangible

metric for determining success.

There was also an expectation for the

consulting design team to deliver systems that

were efficient and sustainable to keep with the

attributes of the base building. The project was

an extremely challenging design exercise that has

delivered some fantastic outcomes. The quality of

lighting throughout the installation is excellent and

has thoroughly met the client brief. This solution

has provided Arrow with a number of great

spaces that will serve them long into the future.

Judges’ comments: Impressive fit out design, with

visual appeal good integration with the interior

design and comfortable lighting. A good example

of a well done commercial fit out. Very conceptual

styling of luminaires chosen meets the corporate

theme in the reception. Creating a cavernous

effect to the main corridors with surface down

lights with gold bezel sets the scene. Boardroom

lighting is very effective in highlighting the natural

timber and environment. Varied areas using

different techniques. Lighting design beautifully

complimented the interior architecture. Excellent

job. Comfortable high-end space.

Suppliers: Modular (Lighting & Design Group),

ELS (Raylinc), Selux, Corporate Culture,

Erco (Raylinc) and Dark (Inlite)

The entry to Arrow Energy’s

offices (below) and a staff area (right).

Award of Commendation To WSp For ArroW ENErGy TENANCy,

lEVEl 39 Foh ANd lEVEl 38 STAFF ArEAS,

111 EAGlE STrEET, BriSBANE

The main auditorium looking from the stage (top) and the organ (bottom).


Award of Excellence

Judges’ comments: Excellent job. This is an interesting project for the

design of the pelmet lighting in the function/office rooms and open space.

The custom made lighting effectively brings this working environment

to a creative environment that is free from glare and the conformity

of conventional lighting systems. The light sticks provide a pleasing

unobtrusiveness to a large open space to break up the tasks of Lab lighting.

The cylindrical lighting themes coincide with each other throughout the

building creating a synchronised harmony. Visually stunning. Novel approach

which works well. Architecture helps. Extremely thoughtful design that was

well executed; very well executed; great visual impact; job well done.

Suppliers: Klik Systems, Louis Poulsen, Frend Lighting, Artemide, Lumin8,

Light and Design Group

To AurECoN ANd WilSoN ArChiTECTS,

doNoVAN hill For ThE TrANSlATioNAl

rESEArCh iNSTiTuTE (Tri)

An external view of the TRI (below) and inside one of the lecture theatres (above).

Designer’s statement: TRI, an Australian first,

is a joint venture between The University of

Queensland, Queensland University of Technology,

Mater Research and Queensland Health that

aims to accelerate the delivery of new health

treatments for better health. Led by Australian

of the Year 2006, Professor Ian Frazer AC, TRI

houses over 650 researchers that collaborate their

research expertise across cancers, bone and joint

diseases, diabetes and obesity, and inflammatory

and infectious diseases.

The fundamental lighting design vision was

to use light to create luminance and contrast

associated with architectural themes and motifs,

with task luminance addressed as secondary.

A hierarchy of architectural themes was formed.

The primary theme is the use of circular and

fluted shapes/features, utilised in both 2D

patterns and 3D forms.

By creating and executing a design concept

using simple qualitative lighting design practices

with an architecturally themed vision, resultant

spaces and environments are inviting, comfortable,

free of glare and interesting; all contributing to

occupant satisfaction and productivity.

There were 17 entries in 2013 with three receiving commendations and three excellence awards. The judging panel comprised: Trevor Duncan (Convenor), Horatio Burton, Sara McClintock, John Vollugi, Steven Beer, Sue Fenton and David Rooke.

Victoria Chapter including Tasmania


To WilliAM hArdiNG oF WEBB AuSTrAliA

For ThE lAriSSA uNdErpASS

Designer’s statement: Larissa underpass is a

small pedestrian, cycle access route beneath

the Ringwood Bypass in Ringwood, connecting

Larissa Avenue and Suda Avenue. The brief was

simple, illuminate the interior of the underpass

and make it colour full, dynamic and safe for

users. All options could be considered. Vandal

resistance of the installation was of paramount

importance

The concept was to provide a dynamic,

animated and colour full display to illuminate

the walls of the underpass with colour changing

computer programmable luminaires. Security

lighting to provide way finding and facial

recognition would be addressed also by means

of white light luminaires strategically located to

illuminate people without distracting from the

colourfull wall display.

Judges’ Comments: A great example of turning

a dark intimidating precinct into an interesting

dynamic and even social space. The use of colour

changing LEDs in combination with the lighting

control system has transformed a pedestrian

thoroughfare.

Suppliers: Coolon, Ultralec

Distant (top) and threshold (above) views of the Larissa Underpass.


Designer’s statement: Tasmanian Museum & Art Gallery (TMAG) is

one of Australia’s oldest public museums; it’s a combined Museum,

Art Gallery and State Herbarium. The location of the Central Gallery

in within a heritage listed building, with a modern structure housing

collection highlights. The objects are displayed across 4 display

cases, each showing the diverse and importance of the collection.

The space takes visitors on a journey trough the sequencing of light

scenes upon entering.

Story Inc, designed a space that required a lighting design that

could add an element of intimacy and engage visitors to the variety

of elements and objects, in a story telling way, through the use of

light changes. In earlier days of the museum a small section of

objects were displayed under the stairs. The darker environment gives

the visitor a feeling of being back in a space under the stairs. Story Inc

& TMAG engaged MEGS to deliver a design that would give a stylized

object focused results, while working within international conservation

requirements.

Judges’ Comments: The skillful integration of lighting, sensors

and sound within the display, allows for the mixed art collection to

be presented with a point of difference; the control of the light is

meticulous allowing objects to be visually grouped in changing scenes.

It represents an outstanding example of adding to an experience

through the use of lighting.

Supporting consultants: Story Inc NZ, AEGRES

Suppliers: Luxam, Dynalite

Two of the exhibitions showing the lighting effect.

images: simon Cuthbert, tmag

Award of Commendation To MuSEuM ExhiBiTioN GAllEry

SErViCES For ThE TASMANiAN

MuSEuM & ArT GAllEry –

CENTrAl GAllEry


To SylVANiA liGhTiNG AuSTrAlASiA

For SiMoNdS STAdiuM

Designer’s statement: Simonds Stadium is

home to more than 40 AFL games per year

and hosts many other high profile sports

and entertainment events. As part of the

multi-million dollar upgrade, four high mast

towers were to be installed to provide HDTV

conditions for AFL matches. Working with

Aurecon and McKnights Electrical, Sylvania

Lighting designed, supplied and commissioned

the lighting.

The major requirements and challenges

were to provide flexible, multi level switching

enabling the client to select various levels

of illumination ranging from non-televised

professional training and competition to HDTV

standard, with acceptable and compliant glare

limits to both participants and spectators

from a floodlighting arrangement that is

aesthetically pleasing and sympathetic to the

sleek, triangular profile for each headframe.

The floodlighting arrangement had to

allow provision for future extra floodlights,

without compromising the triangular profile

adopted for the headframe. Grandstand roof

obstructions and stringent floodlight exclusion

zones, meant roof mounted floodlights would

be required to maintain camera verticals and

boundary illumination near the field perimeter.

Control gear was mounted on the

headframes, hidden from view and not

obstructing floodlight aiming. Due to the close

proximity of nearby residents the installation

had to comply with AS4282-1997 on obtrusive

light, for non-televised lighting, whilst

minimising direct floodlight into the night sky.

The project was completed with 487 Sylvania/

Siteco 2KW metal halide floodlights, evenly

spread over the four towers, including 71 roof

mounted floodlights.

The light is well contained within the stadium (above) and a view from one headframe towards an opposite tower by day (below).

Judges’ Comments: Stadium lighting which achieves

the rigorous requirements for HDTV broadcasting in full

operational mode, to create what Foxtel has described

as the best lit AFL ground in Australia.

Supporting consultants: Populous, Aurecon – Ben Jordan

Suppliers: Sylvania Lighting Australasia – Siteco


To ElECTroliGhT For

171 ColliNS STrEET, MElBourNE

The entry lobby (above) and main lobby (below) at 171 Collins Street.

Designer’s statement: 17l Collins Street resides

in the ‘Paris’ end of Melbourne, regarded

for its architecture and sophistication, and

home to business leaders, investment banks,

international fashion labels and luxury hotels.

The development is an 18-floor tower building

housing a business centre and high-end retail

and seven levels of boutique offices in the

heritage listed Mayfair Building.

Electrolight was commissioned to design

lighting for the Ground Floor common areas

including the entry lobby, atrium, main lobby,

lift lobbies, amenities and the Mayfair Building

heritage façade. Lighting emphasises the internal

architecture and reinforces a sense of luxury

and sophistication inherent with a premium

office development at this nature. The entry

is uses travertine stone walls which continue

through to the atrium and ground floor lobby.

The travertine is evenly illuminated using a range

of different techniques including wall washing,

grazing and spotlighting. Metal halide lamps with

a warm white colour temperature were used to

create warmth and augment the elegance of the

interior. The lighting supports the architecture,

emphasising the stone, which is a signature

feature of the building and provides excellent

vertical illumination throughout the ground floor.

A glowing line at the base of the stone wall

visually defines the perimeter of the entry, atrium

and lobby, creating the illusion of illuminating the

full height of the wall. The glowing line is created

using an LED strip with frosted glass diffuser

in an architectural recess. Environmentally

sustainable principles were central to the lighting

design, with the building achieving a 6 star Green

Star and 5 star NABERS energy rating.

Judges’ Comments: The scheme offers a perfect

example of lighting design, light sources are used

purely as tools to highlight the architecture and

bring key materials to life, in this instance the

feature travertine stone. The solution is clean and

non-distracting, it allows the space to project its

best qualities without imposing.

Architects: Bates Smart

Suppliers: KKDC, Erco, Meyer, Flos

Award of Excellence Designer’s statement: The Chapel, by Wim

Delyove is a commissioned artwork by David

Walsh for MONA. Not just any chapel, the

stained glass and intricate 7 m iron lacework

structure is built on the grass overlooking

the Derwent River. The chapel was designed

by Wim Delvoye, the Belgian artist known

for creating the defecating Cloaca machine

at MONA, along with David Walsh. MEGS

worked with Artist, Cloaca Studio, David

Walsh and MONA Exhibitions — the results

are quite remarkable and the Chapel takes

gothic architecture to the extreme.

MEGS’s concept behind the lighting

design was to have strong floor uplighting

to the ceiling of both internal and external

ceilings and having it change lighting presets,

as the viewer moved within the structure.

Having the ceiling surfaces levels high on the

opposite side to the viewing would

allow good visibility, through the window

to the lit surface – while the visitor would be

a dimmer side, to assist with easy viewing.

The preset change would be achieved

through a custom spun laser monitor

mounted within the wall, to monitor visitor’s

movements. The floor lighting has adjustable

gimble mounts to ensure the ceiling lighting

achieve desired lighting angles.

To reduce impact of the light on the

artwork, the uplight surrounds were

replaced with custom made steel units,

which were aged to blend them into the

floor plate. The LED lighting for the Chapel

also included tree uplighting, garden

lighting and path lighting, with the main

focus being the Chapel. All lighting is

LED to reduce power usage and remain

maintenance free.

Judges’ Comments: The lighting installation

is simple however upon closer inspection

you realise the attention to detail is

impressive. Careful integration of the

inground uplights as well as superb lighting

control. A simple concept beautifully

executed, completely transforming the day

aesthetic to a dramatic night time scene.

Artist: Wim Delvoye, Colaca Studio Belgium

MONA: David Walsh, Adrian Spinks,

Steve Devereaux

Suppliers: Chapel Buckford

Illumination Group – We-ef, Megabay

The Chapel at dusk (above) and a close-up (below). images remi Chauvin, mona

Award of Excellence To MuSEuM ExhiBiTioN GAllEry SErViCES (MEGS) For ThE MoNA


To NdyliGhT For ThE FoyEr oF ThE MCkENZiE STrEET ApArTMENTS

Award of Excellence

Designer’s statement: The design team had a very

specific vision they were wishing to achieve and

NDYLight worked closely with Elenberg Fraser to

translate what this idea encompassed. The creative

brief was to create several very specific lighting

installations that required careful consideration

and prototyping on their own, but also required a

very careful balance between ambient and feature

lighting to provide the required outcomes.

Given the original lighting design did not meet the

client’s vision, a key element of NDY’s design scope

was to provide a solution using as many of the

originally specified luminaires as possible, changing

fittings for cost neutral solutions and providing new

solutions only where absolutely necessary.

Key elements within the foyer included: the

feature glazed mirror box wall, the backlit entry

The foyer’s dramatic impact on approach (left) and back lit entry wall (right).

wall; assistance in developing improved details

for integrated light elements and creating

ambient lighting levels to ensure that the feature

elements appeared as desired. The result is a

highly sophisticated and striking foyer within this

landmark residential building.

Judges’ Comments: A unique example of entry

area and lift lobby lighting. The minimalist use

of luminaires and light sources combined with

the amazing architectural elements makes for

memorable viewing. The creation of this dark

mysterious atmosphere ensures this is a unique

example of entry area and lift lobby lighting.

Supporting consultants: Elenberg Fraser

Suppliers: Light Project – Prolicht, Fibrestars

There were 18 entries in 2013 with six receiving commendations and two excellence awards. The judging panel consisted of Paula Furlani, Maria Gianquitto, Jodie Pitcher, Mary Harben, Clara Venuti, Philip Saks, Bruce Greenshields, Ron Hinde and Hieu Pham.

South Australia Chapter including Northern Territory


To MArk EllioTT ANd iNGrid BAldWiN

oF poiNToFViEW For ColliNS BAr,

hilToN hoTEl, AdElAidE

Designer’s statement: The client brief required

creating a space in which James Bond (the Daniel

Craig version) would feel very much at home. LED

technology was embraced for the project in line

with the Hilton’s international guidelines.

PointOfView responded to the fully glazed

façade by providing a day-night solution. During

the day, the high ambient scheme balances

daylight ingress whilst the low ambient, intimate

scheme ensures that the clientele feel enclosed

within the space and not be drawn to the busy

road outside. The custom centrepiece contains

brass blades with linear LEDs on top to uplight

the coffer and creates the required high ambient

lighting during the day. And in the downlights,

a mixture of warm white and amber LEDs was

proposed to mimic the colour temperature shift

of halogen when dimmed, crucial for such an

important hospitality environment. Lighting that

is mostly focused from a low level at the lounge,

with select highlighting that works hand-in-hand

with the darker interior finishes to create a more

intimate atmosphere.

Judges’ comments: This area, originally known

as Charlie’s Bar, has had a couple of make-

overs since the Hilton opened in the 1980s. This

version has sophistication written all over it. The

brief was to create a space where James Bond

would feel at home. He’d definitely feel stirred

but not shaken about the lighting in this project.

The use of the glazed façade allows daylight to

enter giving the feel of being outside when the

windows are opened. At night, there is the feeling

of being part of the cityscape when looking out

of the bar. The lighting, all of which is LED, is

subtle and located in the areas where it is required. The ceiling

centrepiece is striking, and along with the bar (stocked to the

roof with every alcohol imaginable), draws your attention. The

sophistication carries through all areas and would certainly help

James Bond feel comfortable in its surroundings.

Suppliers: Light Project, JSB Lighting, Lightforce and Litesource

The feature ceiling sculpture draws your attention immediately on entering the bar.

The fully glazed façade allows patrons to look out to the night-time cityscape.


Award of Commendation To ANThoNy dAVidSoN oF

SECoN ENGiNEErS For ThE

GErArd liGhTiNG BuildiNG

combination of linear recessed extruded

fluorescent lights with LED downlights

and RGB LED strip lights above the

drop ceiling and recessed into the

bar and balcony portals. The balcony

adjacent has a recessed RGB LED

extrusion, set to the Gerard Lighting

corporate blue colour which highlights

one of the main external features from

Fullarton Road and complement the

blue tint of the external glazing.

Judges’ Comments: The flexibility

and practicality of this space required

a lighting system that could provide

solutions to both these conditions. The

judges felt that the lighting combination

of fluorescent extrusions, LED downlights

and RGB LED strip lighting, controlled

through the lighting control system,

providing any combination or condition of

lighting that is called for in this space. The

designer has provided a lighting system

which is unobtrusive and provides ideal

conditions for meeting, presentation and

entertainment activities, whatever the

space is to be used for and whether

as four individual rooms or a single space.

Supplier: Inlite

Two interior views of the Gerard Lighting Building without the cove lighting (right)

and with it on (above).


To pAul GillETT oF

GriEVE GillETT For

ThE GoolWA rESidENCE

“designer” louvered pendants are utilised

over the island preparation bench which

provides an ambience of warmth and

comfort to the space whilst providing

a unidirectional supplementary lighting

feature. The lighting installation was

independently certified and complies

with the BCA with an average of 5 W/m2.

The lighting solution is considered warm,

inviting, dramatic and family functional.

It is also uncompromising in itself as it is

“uncluttered”.

Judges’ comments: An outstanding

beach house design. On approach in

the evening, it appears dramatically lit

to impress. This project incorporates

recessed luminaires to give an uncluttered

lighting appearance. Concealed lighting

throughout most of the internal spaces

compliments to capture the openness

of the larger rooms. Interesting and

innovative lighting concepts create

invisible effects. Invisible lighting design

to meet the client’s request. Three

impressive pendants in the main living

and dining area compliment this stylistic

structure. This lighting design reinforces

the architectural and environmental

design with its unique concepts. Ambient,

functional and innovative lighting.

Other designers: Peter Buckley – LPA (SA)

Supplier: LPA (SA)

Designer’s statement: The client’s brief

was uncompromising and demanding

to the extent the ceilings were required

to be “clean” of recessed luminaires. The

lighting was required to be concealed

in joinery with feature lighting to be

expressed as “part of the furniture”.

The overall lighting solution had to be

“invisible” which emphasized the living

space and clear views within when

observed from either balcony.

To comply with the brief linear

fluorescent was concealed within joinery

units. The fluorescents illuminate directly

to working surfaces or indirectly to the

perforated flush ceiling panels. Three

Goolwa Residence – Exterior (above) and kitchen (below).

Designer’s statement: The lighting

concept for this multi-functional space,

balcony and bar was further developed

with input from the architect and

interior designer. The space can be

separated into 4 rooms with individual

scene control via local C-Bus switches

and a master scene control with C-Bus

and Creston touch screens. All lighting

in these areas has DALI control gear and

can be individually controlled.

Given the flexible nature of this

space and the minimalist architectural

design of the building we chose a



To phil kEANE oF purkiNJE For

GrENFEll plAZA

Designer’s statement: The project started as a

request from ACC Operations to provide a new

lighting design for this fountain/water feature.

They were about to replace the water hydraulic

system and they had had problems with the

current underwater lighting system. The current

fittings were a maintenance nuisance with leaves

and rubbish in the water area and they asked

whether they could have a top mounted lighting

scheme. It was decided that an appropriate

continuous LED lighting scheme with its own

minimalistic structure would be suitable.

On site tests showed that a 3000K LED lamp

would provide the best colour solution to suit

the water jets and the wall of the fountain. The

evening test also showed the most suitable

spacing off the wall to provide even illumination

with useful end scalloping to light the full water

feature. The beam spread was adequate and any

stray light would be contained by the mounting

structure. The structure was minimalistic in its

dimensions and in a continuous straight line.

The colour of the structure blended with its

surroundings.

Judges’ comments: The objective of this project

was to replace the old installation with new,

sturdy, easier to maintain economic lighting.

Though this was a straight forward challenge,

the solution has been well considered, planned,

tested and carried out well. The use of a custom

made product using a light source with long life,

energy savings and easier to maintain is very

innovative effective. The metal housing is robust

and unobtrusive. The light distribution from the

linear LED fixture is, like a billiard table fitting

is giving excellent uniformity, and the colour

temperature used compliments the wall.

Other designer: Paul Gillett – Grieve Gillett

Supplier: Pecan Lighting

View along the length of the fountain

Looking at the face of the wall and fountain.

Award of Commendation To roBErT BArToSik oF SECoN ENGiNEErS For

MAiN CorNEr dEVElopMENT, MouNT GAMBiEr

door. The LED strips are controlled by the C-Bus

system to provide a sequence to replicate the

movement of ocean waves. When all exterior

luminaires are operational along with the motion

images, the Main Corner building is lit up

providing tourists and locals of Mount Gambier

with a unique state of the art experience.

Judges’ Comments: The flexibility of the lighting

employed for this project allows any number of

possibilities and provides the end-user with a

functional but striking feature for the city. The

façade uses local materials and is attractive

through the day but it is at night when it comes

alive. The lighting, because of its control system,

can be static or moving to illustrate specific times

of year or celebrations and together with the use

of motion images provides the City of Mount

Gambier with a flexible, practical and innovative

advertisement of the area’s history and features.

Suppliers: ACDC Lighting, Collingwood and Digilin

The Main Corner is the centrepiece of the city of Mount Gambier.

Designer’s statement: The Main Corner Development

situated in the heart of the City of Mount Gambier

forms a significant cornerstone to the ‘Garden Square’

precinct. It provides a space for locals and visitors to

immerse themselves in the geological, cultural and

social history of the area. The exterior lighting and

visual display is to act as a beacon to attract visitors to

the building and surround plaza.

The highlight of the lighting design is the building

façade, with moving images projected on walls and

glazing. The external colour changing LED luminaires

located above the main entry canopy illuminate the

façade and adjacent the green wall using a DMX

control system interfaced with the C-Bus system.

Custom LED strip lighting illuminates the glass bricks

located in the external wall above the main entry



To ZhuN yEE lAi oF TMk CoNSulTiNG ENGiNEErS For SMArTSoFT

Designer’s statement: Smartsoft is a

locally owned software company, whose

steady growth prompted their relocation

to the CBD. They sought a workplace

with an exciting new interior fit-out that

would reflect their professionalism and

a modern, city image. They acquired

an existing two storey building which

provided the architect with a vision to

provide a communal and connected

workplace.

The lighting solution required careful

consideration of the limited ceiling space

and the other services, the utilisation of

the available natural daylight and to be in

line with the architect’s vision for the final

interior outlook. The result is an installation

utilising energy efficient light sources

in a range of luminaires, whose colour

appearance was carefully considered

to take in the surroundings, while also

providing visual comfort and sufficient

light levels for the tasks at hand. The

client is more than happy with the result

that employs originality, practicality and

integration.

Judges’ Comments: An exciting new

interior and lighting fit-out that reflects

professionalism and a modern city

image. Creative lighting was selected to

compliment this contemporary interior.

This incorporated the latest energy saving

technology with current luminaire styles,

all carefully chosen to provide this office

with good flexible lighting. It incorporates

daylight, general ambient and task

lighting for the outstanding office area.

This makes it a very interesting and

impressive lighting design. Visually, the

whole interior integrated well.

Architect: Gina Lippis – Architects Ink

Suppliers: HI Lighting, JSB Lighting

The central glass “pod” offices employ a lighting system with a cooler, clean appearance.

The lighting matched the tasks employed while providing originality as well.

Award of Excellence To pAul CAMoZZATo

oF luCid CoNSulTiNG

AuSTrAliA For

lExuS AdElAidE

consumption. The use of metal halide downlights

contributes to the “sparkle” and with automatic

activation by the lighting control system in the

early evening. DMX controlled LED colour change

projector luminaires have been installed to

provide ambience and an element of theatre to

the showroom. The system automatically reduces

internal lighting levels in the late evening and

activates LED colour change projectors in an aim

to provide a dynamic lighting solution. The final

design has resulted in a lighting energy density

that is 25% below the required allowance in the

Building Code of Australia.

Judges’ Comments: It was once said that your

first impressions of an installation will be 90%

correct. This is true with this installation. On

arrival, the showroom was on full output and

looked exceptional, with the highly polished

sparkling new vehicles. Even with staged

dimming and switching, the showroom still

looked good. The coloured LED spots, changing

the appearance and mood (this was a planned

strategy), also works very well, allowing for

theatre and a change of ambience. The amount

of daylight and the lighting control system,

allows the fluorescents to control off when not

required. An excellent return on investment

has been achieved, resulting in an outstanding

lighting design and result.

Supplier: Inlite

The amount of daylight, and the lighting control system, allows the fluorescents to control off when not required (above). The result is a stunning car showroom (left).

Designer’s statement: The CMV Group, proprietor of Lexus

of Adelaide decided to relocate their dealership to West

Terrace to gain better exposure from adjacency to other

similar car dealerships. The client brief was to provide a

building complimenting their flagship CMI Toyota site but

also differentiating Lexus from other car dealerships along

West Terrace.

Lighting formed a major design aspect of the building

for which the client had specific requirements and

expectations. These included elevated illumination levels in

both vertical and horizontal planes, energy efficiency, latest

technology, high colour rendition and “sparkle” to the car

surfaces, centralised and intelligent lighting control system

and be different to other dealerships.

A recessed extrusion lighting system was suggested as

a “workhorse” system comprising linear fluorescent and

low wattage metal halide downlights controlled via a DALI

lighting control system. The perimeter fluorescent lighting

along the Western façade incorporates daylight measuring

to enable automated dimming control to reduce energy


The shape of the theatre, together with the angles of the ceiling, posed some difficulties. Flexibility is the key component to this installation.

Designer’s statement: The MM Building is a catalyst

for innovative learning, teaching and research

in the materials and minerals science hub of the

UniSA Mawson Lakes campus. Intended to promote

knowledge transfer, the building offers a large lecture

theatre setting designed for optimum engagement

across a diverse group of researchers and integration

with a global research network through advanced

information and communication technologies.

High powered, adjustable, dimmable LED downlights

were utilised within the multi-angled ceiling panels to

provide illumination across the entire space. Careful

consideration was required during the design phase to

ensure that all levels of lighting required were achievable.

Judges’ Comments: The first impression on entering the

theatre was how impressive it looked. One comment was

it resembled the United Nations Hall! The architectural

Award of Excellence To pETEr kEMp oF BESTEC CoNSulTiNG ENGiNEErS

For ThE lECTurE ThEATrE, MM BuildiNG,

uNiSA MAWSoN lAkES CAMpuS

shapes, the colour choices and the general space

were breathtaking. The judges were there of course

to judge the lighting, which is also outstanding. The

LED downlights incorporate horizontal adjustment.

This had been taken advantage of for final improved

results. The design has allowed for a series of quality

dimmed lighting levels for the various uses, which

allows flexibility. These pre-set levels provide ease of

adjustment. The vertical levels had been well considered

for video projection. This is an excellent installation.

Supplier: Digilin

There were 13 entries in 2013 with five receiving commendations and two excellence awards. The judging panel was Bruce Real (Convenor), Markam Ralph, Leo Trimboli, Michael Sadubin, Mike Brown, Ryan Shamier, Tony Fardell, Julie Van Der Ley, Andrew Nagy.

New South Wales Chapter including the ACT

Designer’s statement: Landmark heritage building, the

Culwulla Chambers built in 1912 and dubbed Sydney’s first

skyscraper. Design achieved the client’s request to highlight

the upper windows and light the glass canopy giving a sense

of floating and lightness to the structure. The project was

completed on a very tight budget and time frame.

Architect: PMDL Architecture and Design P/L

Suppliers: KKDC, Superlight and Philips DynaliteThe Dior façade at street level (top right) and at higher levels (above).


To BoW JAruWANGSANTi oF hAroN roBSoN-liGhT

MATTErS For ThE ExTErNAl FAçAdE liGhTiNG oF

dior BouTiQuE, CASTlErEAGh ST, SydNEy



To CArTEr lEuNG ANd TiM CArr oF Arup

For ThE ENTrANCE ANd ATriuM,

kiNGhorN CANCEr CENTrE, ST ViNCENT’S

rESEArCh CENTrE, dArliNGhurST

Designer’s statement: The entrance is to create a

warm and welcoming environment for all visitors

and occupants of TKCC. Instead of a uniform layer

of lighting applied to the overall area, key elements

and location were highlighted. The Atrium artwork

was focused as the centre-piece of the space. All

light sources were concealed from direct viewing

from the bottom of the Atrium.

Architect: BVN

Suppliers: Erco, Intralux, (supplied By JSB), KKDC,

Nimbus (supplied by Koda).

Looking down into the Atrium (left) and a ground floor view (above).

Award of Commendation To philip GrEENup oF Arup For ThE

SporTS liGhTiNG oF MANukA oVAl, CANBErrA

Designer’s statement: With its prominent position

in Canberra, close to Parliament Hill and the

Parliament triangle the sports lighting was required

to be sensitive to its environment. The sports lighting

was successfully delivered within in programme and

budget and was a success from day1. Development

received critical acclaim from the Canberra public,

and sports broadcasters have proclaimed it to be

the best in the country.

Other contributors: Hamish McNulty, ACT Economic

Development, John Telford, Abacus Lighting UK.

Architect: Ian Smith – Cox Architecture.

Suppliers: Abacus (Dialight ILS).A night-time exterior view of Manuka Oval (below) and the beam control achieved (above).



To TiM CArr ANd TiM huNT oF Arup

For ThE ExTErNAl FAçAdE liGhTiNG,

No 8 ChiFlEy, SydNEy

Designer’s statement: Primary challenge to illuminate No 8 Chifley

was maintaining compliance with design targets for energy

consumption and reduction of light spill. Great lengths were taken in

the design process to calculate, measure and predict how a scheme

of this scale would eventually perform. This included full size mock-

ups of the sway frame. The designers were able to show Mirvac, the

client, how successful an exterior lighting scheme would benefit the

night time appearance of both the building and the city.

Architect: RSH & P, Lippmann

Suppliers: We-ef (Lightculture), Light Project (Lumino),

Erco, Encapsulate and Pierlite

The façade of No 8 Chifley (above) and a detail (above right).


To MiWook kANG, GEorGE ThEodoropouliS

ANd TiM ShoTBolT oF AECoM For ThE

ENTrANCE FoyEr, 161 CASTlErEAGh ST, SydNEy

Designer’s statement: The challenge with this

project was to achieve the architectural concept

which essentially is a glowing glass box but on a

very large scale which had to integrate sunlight,

daylight and electric light and retain the general

lighting integrity regardless of which light dynamic

was operating. FJMT architects had a photographic

quality interior rendering that had been agreed on

by the owners.

The appearance of glowing white glass ceiling

and walls except for a band of translucent milky

white glass at Castlereagh Street level specifically

intended to feature patches of light and

downlights plus vague people movement behind

the glass from the ANZ Bank tenancy beyond.

Architect: FJMT Architects

Suppliers: Xenian and Zumtobel

Night-time views of the entry to 161 Castlereagh St (above) and the foyer (left).


Award of Excellence To AMArA ClArk ANd MArk EllioTT oF poiNToFViEW

For QT SydNEy – puBliC SpACES

Designer’s statement: QT Sydney

is located in the historic Gowings

Building, (the first multi-storey

department store in Australia) and the

adjoining heritage-listed State Theatre,

in the heart of Sydney’s central

business district. QT Sydney, consists

of 200 boutique guestrooms designed

by Indyk Architects plus public spaces

(hotel reception, bar, restaurant

and coffee roaster) designed by

Nic Graham + Associates. The new

hotel design preserves the fabric

of the two of iconic buildings and

captures the intrigue and excitement

of the past in an edgy, contemporary

design style. The interiors are a mix

of original features, curated digital art

installations, eclectic artefacts and

design pieces inspired by the retail and

theatre history of the buildings.

Interior designers: Nicholas Graham and

Associates

Suppliers: Adam Signs, Eagle Lighting,

Euroluce, Philips Dynalite,

Lighting Controls, JSB Lighting,

Litesource and Nocturnal Lighting

QT Sydney bar area (above)

and restaurant area (right).

Award of Excellence To doN SAliSBury ANd ryAN ShAMiEr oF ElECTroliGhT For

CBrE hEAd oFFiCE – rECEpTioN ANd CliENT iNTErFACE ArEAS

Designer’s statement: CBRE’s brief for the

lighting was delightfully elastic, “make it

unlike an office foyer, more ... hospitality

than you would tend to expect”. We took

this thought and applied an approach which

introduced warmth and depth. We worked

with WMK to peel back the finishes, pressing

outward and pulling inwards to provide a

silky organic glow through openings in the

ceiling and walls. Slot details, curved coves

and trimless plaster body luminaires meld

with the softness of the lighting, applied with

warm white LED throughout. Subtle feature

light elements accompany the hospitality

feel, and the CityScape light sculpture

adds a dramatically abstract but germane

statement to the client’s core offering. Our

client is ecstatic with the result and the way

it provides CBRE with a unique and relevant

result through the medium of light.

Interior designers: WMK Architecture

Suppliers: Nocturnal Lighting, Light Project,

Euroluce, The Lighting Group, Space Lighting,

Zumtobel, Klik Systems, Pierlite, Hub Furniture

and Ginenco InteriorsThe reception area of the CBRE Head Office (above) and a client interface area (below).

December 2013/January 2014 | LIGHTING MAGAZINE 41December 2013/January 2014 | LIGHTING MAGAZINE 41December 2013/January 2014 | LIGHTING MAGAZINE 41

ViCtoria Chapter

f e a t u r e

The Illuminating engineering Society of australia and new Zealand

conducts annual luminaire design awards in most of its chapters.

This article reports on the 2013 awards for the Queensland,

Victoria and new South Wales chapters.

IESANZ Chapter Luminaire

Design Awards

2013cOmPILeD by Warren JuLIan

Queensland Chapter

new south wales Chapter

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There were seven entries in 2013. The judging panel comprised Jan Flook (Convenor), Adam Carey and Ben Luder.

Victoria Chapter


There was one entry that received an award of commendation. The judging panel was: Eric Isdale (Convenor), Jason Bird, Brendan Evans, Barry Hume and Neil Wills.

Queensland Chapter

Award of Commendation TO enTTec fOr THe aLePH2 eT LumInaIre

Designer’s statement: The Aleph2 ET was born

from the need to produce an range of colour

palettes and very high quality light from a single

light source. Theatre has always been the most

demanding market from a lighting perspective

and quality tunable light has always been a hard

to achieve.

Using the skills of the R&D team in our offices

in Knoxfiled, we set out to design a light engine

that would allow us to produce an extended

gamut of colours covering the full Planckian

locus while keeping a broad spectrum range

to maintain a high CRI. Careful LED selection

and testing was needed along with developing

colour mixing algorithms in the driver to obtain

the final result. Continuous testing was used

during the process to assure all the design goals

were met, including maintaining sufficient flux

for long theatre throw applications. Once all

benchmarks passed the light engine technology

The Aleph2 ET.

was incorporated in the ET light bar. The product

is available in 4 sizes 300, 600, 900 and 1200

mm each incorporating respectively 5, 10, l5 and

20 light engines.

Advanced firmware allows the user to dial

up specific colours inside its extended gamut

or tune white between 1200K and l800K, while

following the Planckian locus within 3 SDCM and

maintaining a CKI above 90 between 5600K and

2700K.

Judge’s comments: Commended for the in-depth

attention to colour mixing within white spectrum

and the remote programmable and snap shot

options.Award of Commendation TO JameS LaurenDeT Of KLIK SySTemS fOr THe beSPOKe

TrI T5 ceILInG mOunTeD – acryLIc cyLInDrIcaL PenDanT

Designer’s statement: Klik Systems was approached

to assist in the realisation of a conceptual bespoke

light fitting for thc ncw Translational Research

Institute building in Woolloongabba, designed by

Jarred Lillywhite of Aurecon, the lighting engineers

engaged for the project by Wilson Architects +

Donovan Hill – Architects in Association.

In their words: “the fundamental lighting design

vision was to use light to create luminance and

contrast associated with architectural themes and

motifs with task luminance addressed as secondary…

The primary theme is the use of circular and fluted

shapes/features utilised in both 2D patterns and

3D forms…ultimately realised as a field of scattered

The TRI T5 ceiling mounted acrylic cylindrical pendant.

hanging cylindrical luminaires. so-called ‘light

sticks’.”

The finished light fitting or ‘light slick’ appears

deceptively simple, belying the intricacy of the

underlying industrial design and engineering

required to meet the exacting demands of the

brief in every respect.

Judges’ Comments: The acrylic cylindrical

pendant is both well conceived and styled to

match the theme of the TRI Building architecture,

and provides an even yet high level of lighting

for the various tasks required of this research

facility’s office space. The luminaire has been

engineered to be produced in mass while

allowing a staged assembly to align with the

construction phases of the TRI Building and

ensure minimal exposure of the components to

damage and dust during the building fit-out.

Similarly, when in service, the design allows for

the energy efficient T5 light source “core” of

the luminaire to drop away to greatly simplify

maintenance of the lamps and control gear.


Award of Commendation TO DarKOn fOr cHrOme DOme LeD GLObe LumInaIre

WITH DIrecT 240V POWer cOnnecTIOn


Designer’s statement: The Chrome Dome

globe luminaire by Darkon PTY LTD is an

acrylic globe luminaire with an aluminium

heat sink accommodating a LED PCB with

a microprocessor controlling power supply.

With an E27 lampholder, The Chrome Dome

luminaire can be connected directly to 240V

and is a gorgeous LED retrofit, highly efficient

with just 5W warm-white LED.

Judges’ comments: The engineering quality and

research were of a high standard and the panel

recognized the tenacity and passion generated

by Dean to bring his product to market the

judges believe it has a bright future.

The Chrome Dome in situ (above) and a close up of the heatsink assembly (below).


TO HeLLa fOr HyPaLume – HeaVy DuTy LeD fLOODLIGHT

Designer’s statement: HELLA is proud to

introduce the revolutionary HypaLUME – LED

Flood Light, the first high output LED flood

light designed specifically for mining and heavy

industry. The HypaLUME produces in excess of

20,000 lumens across three specialised in-house

designed optical distributions while consuming

a mere 240W. The HypaLUME is designed to

operate over an extreme temperature range of

-40°C to +50°C for in excess of 50,000 hours

providing maintenance free lighting.

Thermal modelling was undertaken and from

this review it was decided to separate the LED

PCB from the Driver PCB by air vents, which

have been designed to provide a critical flow

geometry. This allows efficient air flow over

cooling fins on the heat sink, in all orientations

from horizontal mounting to 20 degrees from

vertical mounting. This provides optimum

cooling, even in still air environments.

Hella Hypalume front view (left) and side view (right).

Judges’ comments: The panel was

impressed with the content of Australian

made and constructed components.

The temperature management and

attention to impact resistant was

commendable.

Project team: Paul Lindsay, Program

Manager; Anthony Franklin, Lead Design

Engineer; Andrew Trezise, Hardware

Engineer; Larry Liang, Optical Design

Engineer; Tim Hatley, Process Engineer;

Ken Sturgeon, Simulation Engineer and

Stefan Kisser, Product Manager.

46 LIGHTING MAGAZINE | December 2013/January 2014 December 2013/January 2014 | LIGHTING MAGAZINE 4746 LIGHTING MAGAZINE | December 2013/January 2014

Description statement: This luminaire was

designed for use in landscape lighting. The

design objective for the Magic Mushroom

was to develop a slim, seamless luminaire

that incorporates concealed light sources

to illuminate the landscape and pathways

together with shrubs and lawns. This luminaire

is unobtrusive during the daylight hours yet

provides a soft while concentrated down light

within a landscape garden. The main unit is

the head which gives the descriptive names

Mushroom. There are 3 LEDs within the head

potted in resign giving it an IP66 rating. The

stem can be cut to suit the required height with

the LED drivers housed in an IP rated box for

in ground installation

Judges’ comments: Although this landscape

light was designed for a particular project its

compact and adjustable height design makes

it usable in other outdoor lighting designs.

The method of potting the LEDs provides an

inbuilt robustness which also allows the unit

to be rated at IP65 all of which aids to an easy

installation.

The Magic Mushroom illuminating gardens.


To EMrAh BAki ulAS oF STEENSEN VArMiNG For

ThE “MAGiC MuShrooM” lEd lANdSCApE luMiNAirE

There were 14 entries for the 2013 New South Wales Chapter Luminaire Design Awards. The Judges were Gordon Watson – Gordon Watson and Associates (Convenor), Richard Massey – The Lighting Group, Tony Fardell – Independent Lighting Consultant and Bruce Real – Independent Lighting Consultant.

New South Wales Chapter

Award of Excellence To CooloN lEd liGhTiNG For

ThE dlk hiGh poWEr lEd luMiNAirE

Designer’s statement: The DLK is a high power LED

luminaire suitable for area, tunnel and road lighting in

industrial applications. In 2009, Coolon designed and

produced the StaticRetroLED – an LED replacement

for industrial area lighting that provided clients with a

maintenance-free lighting solution. This product has, and

continues to function according to its specifications, but in

2012, Coolon was challenged to create a replacement that

would rival the lower price of its competitor’s product.

Through research and development, and a complete

shift in thinking, Coolon created the DLK to: weigh less,

produce better light output, consume less energy and be

less expensive than any comparable product on the market.

Optional in-built daylight sensor perform automatic switching

between day and night modes to further substantially

decrease power consumption and a carbon footprint

by automatically dimming the light and reducing power

consumption during the day. DLK is also available in an

environmentally friendly amber version.

Judges’ comments: The judges were very impressed with

the exceptional production values attention to detail and

robust nature of the DLK with its 98% recyclability it was

carefully considered and constructed.The Coolon DLK (below) and a close-up of the LEDs and weatherproofing (above).

48 LIGHTING MAGAZINE | December 2013/January 2014 December 2013/January 2014 | LIGHTING MAGAZINE 4948 LIGHTING MAGAZINE | December 2013/January 2014 December 2013/January 2014 | LIGHTING MAGAZINE 49


To JAMES lAurENdET oF klik SySTEMS

For ThE liNEAr lEd liGhTiNG lEdSTrEAM

Description statement: There are 4 versions of the Ledstream

body along with 2 recess options; all have minor but significant

variations to assist the architect and lighting designer for best

solution. The bodies range from 34mm to 54mm in height

and all 28mm wide. The Ledstream is equipped with a variety

of LEDoptix diffusers with different distributions from narrow

to medium and wide all with dot free diffusing. Asymmetric

and elliptical options are also available. Ledstream is available

in lengths from 100mm up to 5metres in length in 100mm

increments.

Judges’ comments: This system’s light source is LED only

and has been engineered as a system which has multiple light

distributions options. The system has continuous lengths of

shadow free light with easy joining of lengths. This system

provides an easy installation and good cable management.

The LEDstream lighting a shoes display (left) and a detail (above).

Description statement: This luminaire has been designed

principally to replace the existing 70watt metal halide

track spots used in fresh food and retail stores. The

unit had to fit into the existing range while providing an

output of 2600 lumens at a system power of 36 watts.

The Light source is provided by a chip onboard LED with

a beam angle of 32 degrees and a high CRI. Although

this new LED luminaire looks similar to the existing

metal Halide track spot it has interchangeable optics

and a solid core connected via multiple fins in a rotary

formation – hence the name Rotos.

Award of Commendation To pETEr ATTFiEld oF SlA pTy lTd –

iNTErior ArChiTECTurAl diViSioN

For ThE CoNCord roToS

The Concord Rotos in use (left) and a detail of its cooling fins (above).

Judges’ comments: The Rotos has a

similar look to previous Concord track

spots. However, there is a modern

look designed into this housing which

also allows good airflow and thermal

dissipation. The family of Rotos spotlights

provides a number of configurations while

still maintaining the standard housing

thus giving a uniform look on a track

yet supplying a variety of sources and

distributions.

50 LIGHTING MAGAZINE | December 2013/January 2014 December 2013/January 2014 | LIGHTING MAGAZINE 5150 LIGHTING MAGAZINE | December 2013/January 2014 December 2013/January 2014 | LIGHTING MAGAZINE 51

Description statement: The Eye-on concept is for a true replacement

to traditional halogen lamped spotlights up to 75 watts. This concept

allows for easy beam focusing between 18 degrees and 65 degrees

by a simple and easily accessed external thumb slide that is discretely

nestled between the cooling fins. This optical solution is known

as Monoc. The application is versatile designed for multi or single

track or surface mounting all of these can be used in many differing

orientations and applications. This luminaire is predominately aimed as

a direct replacement to dichroic halogen spots 35 watt MR16 up to 75

watt AR111 in both spot and flood versions

Judges’ comments: What makes this track or surface mounted

luminaire stand out is the design of the housing, it has a dynamic and

compact look. The Monoc optical solution provides a wide range of

focusing and it provides designers with a direct replacement for the

MR16. The LEDs delivers high lumen output packages without the

need for an external driver box. The ergonomic aspect of this luminaire

together with its performance puts in the excellence category.

Two views of the Eye-on track-mounted LED luminaire.

Award of Excellence To pETEr ATTFiEld oF SlA pTy lTd – iNTErior

ArChiTECTurAl diViSioN For ThE luMiNANCE EyE-oN

Description statement: This entry was one of the light sculptures

in the Vivid 2013 event. The sculpture included a chandelier

which dropped; surprising observers were viewing the area.

Other sections were doors with panels with back-lit glass panels

with etched faces which illuminated when an adjacent button

was pressed. This was a walk-in light sculpture which provided a

feeling of encapsulation with individual features which captured

the attention of the observer. Coloured lighting gave the area a

surreal feel which accentuated the dynamics of the light sculpture.


To BETTiNA EASToN, ColiN ShuM

ANd GrACE ThAM oF TEAM GCB For

WAlSh BAy WhiSpErS – ViVid 2013

Two views of Walsh Bay Whispers from Vivid 2013.

Judges’ comments: It was thought

that this light sculpture was

perhaps a large luminaire where

the observer walks into the area

and participates in the design.

The back-lit glass panels and the

dropping chandelier were well

positioned and controlled to give a

spontaneity to the light sources.


f e a t u r e

1. When designing luminous at darling

harbour, you had a lot of competing factors

including budget, environmental impacts and

aesthetics both internal & external. Could you

give examples of the most difficult issue and the

most surprising breakthrough on this project?

“Luminous” started off small, and the idea grew.

The original concept was tested and then fine-

tuned. The design restraints were many:

i) not to inconvenience the tenants by way of

colour & glare

ii) not to provide glare or distraction for people

and traffic on the flyover externally

iii) comply with code for light pollution

Containment of the light source was also

a challenge; as well as getting the colour mix

acceptable when played across the timber blinds.

The solution was to use a single LED R/G/B/W,

along with a spreader lens for distribution.

The most surprising moment in the project was

when the Client decided to expand the concept

from lighting a few bays of the building façade to

lighting the whole thing. I never thought they would

back the concept to this extent. And working with

Bruce Ramus, who created the animation of the

façade, really made the outcome really dynamic.

2. in your 30 years as a lighting designer,

what has been the most technological innovation

for the industry?

In 30 years of lighting design, apart from the

standard lamp sources such as halogen, metal halide,

sodium, cold cathode and incandescent; it was the

“form” of the fittings that made the difference – be

that a decorative or theatrical approach – lamp

sources needed to be dressed up when in the public

eye; light fittings became part of the embellishment.

In the last few years with sustainable restraints and

the LED juggernaut, lighting design has been more

challenging.

3. What lighting design project are you most

proud of & why?

A: I have several projects I am proud of, ones that

come to mind are:

a) A pro bono project that I did for St Canice Church

Kings Cross – not knowing my way around a

church didn’t help, but after testing and trials,

we came up with a great solution.

b) The Neo Pharaoh Disco was another personal

gem. Why…everything worked when I switched

it on!

c) Cockle Bay Wharf was also a favourite – having

the chance to work with Eric Kuhn, the great

American Architect.

4. how have environmental pressures changed

the profession of lighting design?

A: It is a bit sad that lighting design is now, in

this country, being dictated almost solely to by

sustainable groups, in many cases quality and

lighting best practice have taken a back seat to

energy and cost.

5. What do you see as the next big thing for

lighting designers?

A: Hopefully in the near future quality and best

practice will be a prerequisite for a project, rather

than just watts per square metre.

Mike SparrowSenior lighting Engineer design | Building lend lease, NSW

De

sig

ne

r Q

&A

Award of Excellence To pETEr MCMillAN oF klik SySTEMS

For kliklEd+

Description statement: KlikLED+ is a versatile linear

LED lighting system which has been designed to

be work seamlessly as a modular system across

the range of Klik beam luminaire extrusions with

minimal components. The system can be supplied

in increment lengths of 100mm and uses a 24volt

DC constant voltage constant current circuit

architecture. This provides a safe environment for

installers and demanded the development of a new

technology to maintain high levels of efficiency and

to mitigate voltage drop. The printed circuit boards

for this technology was designed and developed

in-house.

Judges’ comments: This compact and versatile

linear lighting system is well engineered and has

components which have been developed in-house

to provide a system providing a constant supply

to all LEDs in the system. There is a variety of

lighting controls within their range of boards from

single channels single colour to four channel DMX

controlled RGB-W boards providing half-a-billion

colours. The engineering and PC boards design

take this linear lighting system to the excellent level.

The 50 Beam LED+ supplied as a recessed and semi-recessed luminaire at Moore Stephens (top) and at DEEWR in Canberra, the 85 Beam R/V LED+ supplied as a trimless recessed luminaire with illuminated bend (above).


Incoming Chapter President Darrin Schreier with Paul McDermott, the evening’s MC.photo by narelle robinson.

The award-winning Translational Research Institute entry from Aurecon, Wilson Architects and Donovan Hill. photo by peter robey.

i e s a n Z a w a r d s

E ver wondered what it would be like to chow

down on a duck confit in the presence of Paul

McDermott while you eyeball the year’s most

stunning achievements in lighting and luminaire

design? Just ask a member of the Queensland

IESANZ Chapter.

Around 230 chapter members came together

on 25th October to celebrate the annual

Queensland IESANZ Lighting Design Awards at

the Brisbane Entertainment Centre. According

to dinner coordinator and incoming Chapter

President Darrin Schreier, the night was “probably

about as perfect as you could get.”

Schreier might say that, given his boyhood

fascination with the Doug Anthony All Stars;

seeing event MC McDermott in the flesh left

him feeling more than a little starstruck. But the

breadth, depth and quality of the winning entrants

in the Lighting Design Awards and Luminaire

Design Awards buried even McDermott’s light well

under the proverbial bushel.

Six major awards were given on the night – five

Lighting Design Awards, and a single Luminaire

Design Award. A series of student awards were

also presented. Of all the winners, perhaps the

most lauded was the Translational Research

Institute, which has swept awards categories

across the architecture, engineering and lighting

sectors since its completion earlier this year. The

lighting design, developed by Aurecon, Wilson

Architects and Donovan Hill, was based on a

‘hierarchy’ of architectural themes, including a

theme of circular luminance expressed through

the installation of over 900 circular pendant lights.

Other big winners on the night were the Klik

Systems team, who took out the sole Luminaire

Design Award for their TRI T5 Cylindrical Pendant

light; and the main auditorium of the heritage-

listed Brisbane City Hall, which was honoured

with a Lighting Design Award of Commendation.

A team from Design Stage re-imagined the existing

space to highlight architectural features, such as columns,

cornices and friezes, which had been overlooked by

previous lighting design schemes. Having organised the

annual awards dinner over the last five years, 2013 marked

Schreier’s last year at the helm of Queensland lighting’s

night of nights; as the incoming Chapter President, Schreier

will hand over the dinner reins to someone else for 2014.

“It was nice to do my last dinner and have something

go exactly to plan with no hiccups at all through the

night. Room was right, timing was right, MC was spot-on,

food service was great. In terms of running an event, was

probably about as perfect as you could get,” Schreier says.

Pity the fool who has to follow in Schreier’s footsteps

next year. But never fear – Schreier has some succinct

advice for his successor, whoever they may be:

“Give up sleep!”

Magic, mayhemand a night in the clink: inside the 2013 IESANZ Lighting Design Awards

By ClAirE ThoMpSoN C elebration reigned supreme at the 2013 IESANZ Lighting Design and Luminaire Design

Awards, which lit up a host of stunning venues across Australia in November and

December this year. With awards ceremonies in Adelaide, Sydney, Melbourne and Brisbane,

the IES chapter committees were kept extraordinarily busy devising new ways to honour the

lighting sector’s best and brightest. Read on to find out how each chapter chose to celebrate

their awards, and get a sneak peak at some of this year’s most memorable moments.

QuEENSLAND CHAPTER

The Brisbane Entertainment Centre glitters on Queensland Lighting’s night of nights. photo by narelle robinson.

T he 2013 Victorian IESANZ Awards dinner at the

Plaza Ballroom on Melbourne’s Collins Street was

a magical affair, in more ways than one. More than

240 of the Victorian lighting industry’s finest – and

one magician – filled the venue, setting the scene for a

stunning event that showcased Victoria’s prowess as a

creative hub for contemporary lighting design.

The Victorian Chapter has been particularly

progressive with identifying new awards categories that

accurately reflect the achievements of chapter members.

In addition to the Lighting Design Awards the Luminaire

Design Awards and the student awards presented by

many other IESANZ Chapters, the Victorian awards

committee launched the Victorian Lighting Industry

Technical Representative Award (VLiTRA) in 2011 and the

Albert Dresler Daylighting Award in 2012.

VICToRIAN CHAPTER

The Highpoint Shopping Centre project, winner of the Dr Albert Dresler Daylighting Award. photograph by peter bennetts.


The VLiTRA honours technical representatives working

within the lighting sector and their achievements in

disseminating lighting technical education and knowledge

among their clientele. Aaron Binion of Lightmoves was

honoured with this year’s VLiTRA for a luminaire presentation

in which he shared his in-depth knowledge of its technical

and aesthetic capabilities with the panel of judges.

“VLiTRA is a recognition that the majority of the

IESANZ members are salespeople, and that we’d like to

see excellence within the industry. We hope that other

chapters and other states will take it up,” says Chapter

President Dave Anderson.

The Albert Dresler Daylighting Award acknowledges

the importance of effective daylighting in contemporary

lighting design. A joint Grimshaw/Arup project at Melbourne’s

Highpoint Shopping Centre took out the 2013 prize,

with the judges noting the designers’ exceptional use of

daylight modelling, geometry and EFTE materials, as well

as translucent glass skylights and operable louvres that add

points of interest to the daylight experience.

“The quality of the entries improves each year, and this

year is no exception, with greater emphasis on power

saving and greater use of LEDs,” he says.

In fact, more than 50% of the 13 LiDA and 14 LuDA

nominations were recognised with awards on the night.

The winners of the LiDA excellence awards included a

PointOfView installation in the public spaces of the QT

Sydney hotel, and an Electrolight project at the CBRE

Head Office which resulted in a ‘delightfully elastic’

approach to lighting the commercial real estate space

using warm white LEDs.

Victorian Chapter celebrations at the Plaza Ballroom. photograph by richard timbury/Casamento photography

MC magician Matt Hollywood casts a spell on John Aeillo. photograph by richard timbury/ Casamento photography

NEW SouTH WALES CHAPTER

“This is something we’ve really been pushing in Victoria,”

Anderson says.

“There’s a groundswell for daylight and daylight design,

given current climate change, energy prices, all of that sort

of thing. We also see that it’s a way to establish better

relationships with the architectural community.”

Outside of the formal awards presentations, the night’s

entertainment, provided by magician and MC Matt Hollywood,

also proved to be a talking point. As well as overseeing the

evening’s formal proceedings, Hollywood’s roving magic tricks

and a taste for audience participation kept the energy high.

“He did roving magic tricks on tables, but also did the old

pull-people-out-of-the-crowd-and-make a-fool-out-of-them as

well,” Anderson says.

“He dragged Ian Johnson, the teacher of the first year

lighting students, onto the stage, and generally made a fool

out of him. Ian was a great sport. “I think just the general

atmosphere of the night – a lot of people said it was the

best awards dinner they’d been to in quite a few years.”

T he Sydney Convention and Exhibition Centre has been a

winning location for the NSW Chapter IESANZ Awards for

some years now. With expansive views across Darling Harbour,

and enough space between function rooms to encourage a

bit of raucous celebration, it’s easy to see why NSW Chapter

President David Orwin and his events team chose the venue

again for the 2013 celebrations.

While the venue may have been familiar, the night itself

was fresh and fun, thanks largely to the appointment of writer,

comedian and TV host Vince Sorrenti to the MC role. With

his cheeky sense of humour, Sorrenti dragged the 384-strong

audience through a whirlwhind night of prizes, celebrations

and the odd stand-up comedy set.

Orwin chuckles at the memory:

“He was really great. He had everybody in stitches!”

The merriment continued throughout the distribution of

the Lighting Design Awards and Luminaire Design Awards,

in which a range of stunning lighting achievements were

showcased and celebrated. A smaller pool of nominations

this year did nothing to dampen the standard of the entries;

according to Orwin, the quality of lighting and luminaire

design across NSW continues to grow.

Incoming NSW Chapter President Tim Shotbolt congratulates David Orwin on receiving the Richard (Dick) Chappell Memorial Award.

Warren Julian and Adam Cail from the Lighting magazine with Miwook Kang from Aecom (centre) enjoying the NSW IESANZ Chapter celebrations.

October/November 2013 | LIGHTING MAGAZINE 57

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The LuDAs were home to a series of truly innovative products,

including the EYE-ON luminaire, developed by Peter Attfield of SLA

Pty Ltd, which provides a genuine alternative to halogen lamped

spotlights of up to 75 watts; and the KlikLED+ from Klik Systems, a

linear LED lighting structure.

Murray Robson of Haron Robson received the single Life Fellow

Award of the night, in recognition of his significant contribution to

the lighting industry and to the IESANZ.

“Murray has been a National Board director, a past president of

the NSW Chapter and has contributed to the lighting industry in

many ways. He is truly deserving of being upgraded to Life Fellow,”

Orwin says.

Orwin himself was surprised and delighted to receive the

Richard (Dick) Chappell Memorial Award, an honour that recognises

the lifetime achievements of a career lighting designer. This NSW

Chapter-specific award was launched in 2004 in memory of Dick

Chappell, a highly-respected lighting professional who once held the

position of principal lighting designer at the Sydney Opera House.

“I was completely surprised to receive the Dick Chappell award.

I feel that there were many people more deserving than myself, but

I am pleased to know that some people hold me in such regard.”

The thought of an entire IES Chapter winding

up in gaol on the night of their most

prestigious lighting awards would set most

chapter presidents into a panic. But for Mick

Reidy, who heads up the South Australian/

Northern Territory Chapter of the IES, hauling

the local IES membership into the lock-up for

the 2013 IESANZ Lighting Design Awards was

all part of his master plan.

“The history of our chapter is that we were

on the brink of folding up. We only had about

18 financial members, and most of those people

were talking about cancelling their membership

because nothing was happening,” Reidy says.

Reidy and a new band of lighting misfits

commenced a dramatic operation to turn things

around, committing to showing South Australia

and the Northern Territory that the local

lighting industries, and the IES itself, really had

something to offer.

The 2013 IESANZ Lighting Design Awards, held

on November 30, marked the end of 18 months

of reinvention. The night saw 250 of Adelaide’s

design fraternity roll up for the festivities at none

other than the Old Adelaide Gaol.

“It’s a great location,” says Reidy, who was

part of the design team responsible for an eye-

Tim Shotbolt with Murray Robson after Robson received the Life Fellow Award in recognition ongoing contributions to the lighting industry and to the IESANZ.

SouTH AuSTRALIA/NoRTHERN TERRIToRy CHAPTER

The SA/NT Chapter Committee

designed the lighting scheme

for the 2013 IESANZ Lighting Design Awards

at the Old Adelaide Gaol.

photo courtesy of

John goodridge.

catching lighting installation that lit up the internal

cell blocks and the 10-metre-high stone walls that

enclosed the courtyard outside.

We had two wings in the cell blocks where

people came in and got a look at the projects that

were up for an award. Outside, we had a huge

marquee in the courtyard. The whole place just

had an atmosphere to it, and the effect was

fantastic. It really lent itself to being a great venue.”

Eight Lighting Design Awards were given out,

comprised of six certificates of commendation and

two certificates of excellence. A judging panel of

nine did the honours, working their way through

18 nominations in order to identify those that

showcased truly spectacular achievements in

lighting design.

The event was shared with the Design Institute

of Australia (DIA), home to industrial, interior and

graphic designers, after the IES chapter committee

identified a natural synergy between the two

organisations. The successful pairing not only

contributed to a highly festive event; it also led to

the potential for a host of new members for the

local IES Chapter.

“The DIA really understands what we’re about, and

our focus on design coincided with what they do too

– so much so that we had a few people from the DIA

asking us, ‘How do we join the IES?’” Reidy says.

If frivolity could be considered the barometer

with which to measure the success of the night,

then Reidy and his team certainly achieved what

they set out to do – the entire clean-up crew failed

to show on Sunday morning thanks to the aftermath

of extensive … shall we say … ‘enjoyment’ of the night

before.

“I’m still a bit rough,” Reidy says sheepishly when

he gets on the phone.

“Still a bit rough. But we’ll get there.”

Mick Reidy, Alycia Scannell, Maria Maratos and Chris Scannell at the Old Adelaide Gaol. photo courtesy of paula furlani.

Eve Gladwin, Steve Gladwin and George H celebrate the 2013 IESANZ Awards at the Old Adelaide Gaol. photo courtesy of paula furlani.

Colin Rosenzweig and Anthony Caggiano from the Design Institute of Australia get into the spirit of things at the SA/NT IESANZ Lighting Design Awards. photo courtesy of John goodridge.

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FINANCIAL CORPORATE SPONSORS AS OF 19 NOVEMBER 2013

Visiting the world’s second-largest lighting fair

Warren Julian

i e s u p d a t e s + p o s t s

FIGurE 1. This is a view of the registration area. It was constantly crowded with buyers from around the world coming and going over the four days.

FIGurE 2. A “favourite product” – the Tabu Lumen Bluetooth Smart Bulb Plu.

I visited the 15th Hong Kong International Lighting Fair (Autumn Edition) in late October as a guest of the Hong Kong Trade Development Council (HKTDC). I last visited about ten years ago and in that time it has grown into the world’s second-largest, after Light+Build in Frankfurt. The fair is held twice per year although the autumn edition is by far the largest.

The four-day fair had a record 2,360 exhibitors from 38 countries and regions participating, with new exhibitors from Denmark, Israel, Turkey and the UAE taking part.

Fair highlights included the Hall of Aurora which featured more than 470 lighting brands from some 340 exhibitors, including: Fulham, Fumagalli, Neo-Neon, Panasonic, Philips, Seoul Semiconductor and Vossloh-Schwabe. Other featured zones included: LED & Green Lighting, with about 820 exhibitors on hand; Advertising Lighting, presenting display panels, light boxes and neon signs; Smart Lighting & Solutions, offering lighting design service and software, along with lighting management systems and control panels; and the Small-Order Zone, with nearly 140 exhibitors displaying some 1,500 products.

Thousands attended each day mainly buyers but I also saw a few designers checking product trends (Figure 1). It is a good idea to visit over a number of days or half days to overcome fair fatigue. It is easy to go outside and to take in the view of Hong Kong Harbour away from the bustle indoors. Even in the bright sunshine, the harbour seems glare-free compared with the brightness of thousands of retrofit LED “bulbs”. In fact, finding non-LED products requires a concerted effort but they still exist and I think that I eventually saw the complete range of current light sources.

My Favourite Lighting Products Award 2013 was introduced this year, showcasing innovative lighting offerings, chosen by fair buyers. As an example,

December 2013/January 2014 | LIGHTING MAGAZINE 6362 LIGHTING MAGAZINE | December 2013/January 2014

24–27 February

Prolight + Sound Guangzhouwww.prolightsound-guangzhou.com

GuANGZhou, ChiNA

30 March – 4 April

Light + Buildinglight-building.messefrankfurt.com

FrANkFurT, GErMANy

3–4 April

LumeNet 2014 (for PhD students)www.li.tu-berlin.de/lumenet2014

BErliN, GErMANy

23–26 April

CIE 2014 Lighting Quality and Energy Efficiencymalaysia2014.cie.co.at/

kuAlA luMpur, MAlAySiA

23 May – 9 June

Vivid Sydneywww.vividsydney.com

SydNEy

28–30 May

SPARC DesignSydney Exhibition Centre

GlEBE iSlANd NSW, AuSTrAliA

29–31 May

PALM Expo 2014www.palmexpo.in

MuMBAi, iNdiA

1–5 June

Lightfair International (LFI)www.lightfair.com

lAS VEGAS, uSA

9–12 June

Guangzhou International Lighting Exhibitionwww.light.messefrankfurt.com.cn

GuANGZhou, ChiNA

3–5 September

Shanghai International Lighting Fairwww.messefrankfurt.com.cn

ShANGhAi, ChiNA

18–21 September

Light India 2014www.light-india.in/

NEW dElhi, iNdiA

16–18 October

IALD Enlighten Americas 2014www.iald.org

SAN diEGo, uSA

Events Calendar

one of the three winners in the Decorative Household Lighting category was the Tabu Lumen Bluetooth Smart Bulb Plus (AVC Technology (International) Limited) that “combines the practical utility of a standard white bulb and the fun of multi-colored light. Everything can be controlled easily from a proprietary application on our mobile smart phone”, as can be seen in Figure 2.

There were timely seminars each day. Topics included Lighting Market Across the Globe, LED Lighting Regulations and Standards, E-tailing Strategy for Lighting Products and the Hong Kong Quality LED seminar. A Buyer Forum, Business Opportunity in Global Markets, was held with buyers from Chile, the Middle East and Russia participating. One of the most popular panel discussions, 10 things they don’t tell you about LEDs, started off with presentations (of thinly disguised advertising) from senior staff from three manufacturers but soon became electric when the moderator, Ray Molony, Editor of Lux Review, asked Philip’s Solid State R&D Director why he believed it was exciting that LEDs mean that strawberries ripen faster when what the world wants to know is how LEDs actually perform and how to solve the huge glare problems. Then the discussion became realistic rather than aspirational. I can’t report it in detail here but the gist was that some thought that the present stage of development is OK (near enough is close enough) while others thought that the evolution will result in products with system efficacies, CRIs and lives similar to T5 tubular fluorescent products! The panel discussion was great, once control passed to the audience and a provocative moderator.

Overall, the fair was excellent and is well worth an annual visit, especially if you are a buyer but also for others involved in lighting, to see the emerging trends in products, mainly for the mass market, as well as niche products for the professional market.

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