Winners announced at the Lighting Design Awards 2018

Projects from 18 countries – including Korea, India, Australia, Norway, Sweden, the US, the UK, France, Spain, Germany, the UAE, Switzerland and Greece – have been recognised and rewarded at the forty-second Lighting Design Awards in London.

The winners were announced at a glamorous black-tie event at the London Hilton Park Lane attended by over 700 designers, architects and suppliers and hosted by comedian Mark Watson.

The global project of the year for 2018 is named as the Bloomberg European headquarters in London by Tillotson Design Associates and Foster + Partners. Judges described it as a scheme of ‘incredible complexity and sophistication’.

The lighting design practice of the year for 2018 is named as Licht Kunst Licht, whom the judging panel described as ‘a world-class lighting design practice at the top of its game’.

The architectural practice of the year for 2018 is named as Ateliers Jean Nouvel. It was cited for the ‘spectacular’ Louvre Abu Dhabi and called ‘a studio which puts lighting at the heart of everything it does’.

The product designer of the year for 2018 is named as Cypriot Michael Anastassiades, whom the judges said had produced a string of ‘instant lighting classics’ in recent years, which were both artistic and commercial successes.

Workplace Project of the Year

in association with LED Linear


Bloomberg European Headquarters, London, UK – Tillotson Design Associates and Foster + Partners

Also winners of the…

Global Project of the Year

in association with Lutron

The new Bloomberg European Headquarters provides a glare-free, warm glow for the public realm areas of the financial district.

Described by the judges as a scheme of ‘incredible complexity and sophistication’, the Bloomberg European headquarters in the City of London is a unique and inspiring interior that is also the world’s most sustainable office building.

It has a 98.5 per cent ‘outstanding’ rating against the latest Breeam sustainability standard, the highest design-stage score of any major office development. However, the environment hasn’t been compromised.
The public realm around the building is topped with a ribbon of crystalline fins, edge-lit with concealed LEDs adding a sparkle of light that creates a unique identity for the two lower floors.

Accent lights located between the fins, tilted minimally out towards the carriageways provide soft illumination while linear LEDs, with carefully selected optics for each unique application, are recessed within the top of the stone plinth to uplight the stone soffits.

These combined elements allowed the designers to avoid use of the standard building-mounted fittings with their associated glare issues. The intricate layers of lighting used to render the exterior facades give the appearance of self-illumination from within while providing light to the surrounding public areas.

The perimeter lighting system of the upper office floors features the rich materiality of each unique building elevation comprised of bronze and stone soffits and geometric vertical fins. A continuous, LED uplight is recessed within the interior base of the window sills at each typical floor allowing for easy access.
On the interior, combining chilled ceiling and LED lighting technologies is where most of the sustainable benefits for this project originate.

Due to the number of LEDs used, they are able to run significantly below max output for the required light levels. The cumulative effect is an incredibly efficient design consuming approximately 40 per cent less energy than a typical fluorescent office lighting system.

The beautiful, bespoke system that combines cooling, lighting and acoustic functions is comprised within one single 100mm deep plane. Developed with Foster + Partners, it’s created from over two million three-dimensional, formed-metal petals that house over 500,000 LEDs where the petals intersect. Where the ceiling system terminates at the perimeter façade, pairs of LED accent lights supplement work areas.

These are housed in architectural pods at ceiling reveals which serve as an centre for other building technologies including sprinklers and speakers. This innovative, low-brightness system is calibrated at a reduced output to minimise wattage consumption while still achieving the desired 300 lux on the working plane throughout.

Vertical ribbed fins are edge lit with a concealed LED source while narrow beam accentlights, provide illumination for the sidewalks. Stone soffits are uplit from linear LED’s regressed within the top of a bronze plinth.

The focal point of the ground floor is the ‘Vortex’ – an entrance lobby comprised of three sinuous wood walls that curve inwards to become the ceiling plane, culminating at a highly specular Olafur Eliason artwork. The solution of grazing LED uplighting at the base of the three walls accentuates the architectural forms without distraction and brings the art piece to life with intentional, watery ripples of reflections. Clusters of accent lights at three ceiling slots provide down lighting.

The large-scale, spiral ramp ascends six floors above the Vortex to the central skylight. The ramp serves as a ‘chandelier’ providing ambient light to the atrium from linear LED fixtures recessed behind custom bronze louvres at the underside of each step. A cluster of small adjustable LED downlights at each skylight node contribute to the ambient light.

At the ramp’s interior, narrow cutouts in the base of the sidewalls graze light across each tread emphasising the elevation change.

The bespoke, LED-integrated ceiling system shimmers, creating a vibrant, unique and inspiring workspace.

White desk top surfaces reflect light onto the semi-specular ceiling adding depth and vibrancy. Stone core walls washed with recessed, linear LEDs provide vertical illumination.

The base of each petal indirectly reflects light up into the inside of each lobe which aids in reducing the contrast. The three-dimensional shapes provide a natural shielding from glare.

Custom pendants add sparkle for dining and vertical lux for video conferencing. Wall washers and accent lights illuminate a commissioned Arturo Herrera felt artwork. Concealed LED grazers illuminate window sheers when deployed, allowing visual privacy. The space is visually extended to the exterior terrace with shielded uplighting mounted flush at the railing.

A historic church viewed from the dining room is illuminated by LED spot lights located at the 8th floor soffits. The luminous glass facade on the right conceals vertically stacked toilet rooms. An LED lighting system is sandwiched between ribbed glass and etched interior glass providing ambient light for the rooms at night while allowing natural light during the day.

Designers who worked on this project

Project credits:

Tillotson Design Associates:
Suzan Tillotson – lighting design principal
Mitul Parekh – lighting design principal
Erin Dreyfous – lighting design principal
Sara McElroy – lighting design
Krista Kennedy – lighting design

Foster + Partners:
Sir Norman Foster – lead architect
Michael Jones – lead architect
Kate Murphy – lead architect
Owe Schoof – project architect
Simona Bencini – project architect

Integrated ceiling design:
Foster + Partners

Aaron Hargreaves
Nigel Young
James Newton

Lighting Equipment:
iGuzzini – LED downlights
LED Linear

Highly Commended: Hyundai Capital Convention Hall, Seoul, Korea – KGM Architectural Lighting
Highly Commended: Maggie’s Centre, Oldham, UK – Atelier Ten
Commended: Scottish Parliament Debating Chamber, Edinburgh, Scotland – KSLD
Commended: Smythe Library, Tonbridge School, UK – BDP

Lighting Design Practice of the Year

in association with LineaLight


Licht Kunst Licht

‘Light Kunst Licht is a world-class lighting design practice at the top of its game,’ said the 2018 Lighting Design Awards judges. Twice project category winners – for Balenciaga’s flagship store in Paris in the Retail category and the German Ivory Museum in Erbach in the Integration category – as well as commended for Bike Square at the Novartis Campus in Basel in the Leisure category, it has been an incredibly productive 12 months for the Berlin- and Bonn-based studio Licht Kunst Licht.

Founded by principal Professor Andreas Schulz in 1992, the interdisciplinary team of lighting designers, architects, designers and electrical engineers ‘consistently deliver projects of outstanding precision and creativity’, said the judges. Balenciaga was cited for its ‘boldness’ while the German Ivory Museum was hailed as a ‘truly spectacular integration of lighting into architecture’.

Architectural Practice of the Year

in association with ERCO


Ateliers Jean Nouvel

Called ‘a team which puts lighting at the heart of everything it does’ by the judging panel, Ateliers Jean Nouvel is named Architectural Practice of the Year for 2018.

Founded in 1994 by Jean Nouvel and Michel Pélissié, the studio is one of the largest in France. It is especially cited for the ‘spectacular’ Louvre Abu Dhabi, which opened in November. Part of the ‘museum city in the sea’ is under a dome of multi-layered and perforated metal external cladding that filters daylight. The perforations create shade punctuated by bursts of sun. The museum’s key feature is a dome measuring 180m in diameter and 565m in circumference, whose perforations share a family connection with the dilating, geometric openings on the facade of Nouvel’s Institut du Monde Arabe in Paris, and have a common ancestor in the mashrabiya. In this case, however, light passing through the dome has to find its way through eight layers: four of steel and four aluminium inner layers, separated by a steel frame, giving a total depth of 7m.

The pattern of the perforations is repeated through various sizes and angles in each layer but the largest star-shaped elements that form them are 13m in diameter and weigh 1.3 tonnes. The light is filtered through a layering of four fine domes, creating a spiritual and kinetic cycle. ‘Here the light falls like rain,’ says Nouvel. ‘I think it is a first.’
The scenographic effect was the subject of numerous models and mock-ups over the years and is one of the defining features of the concept. The studio built a 6m-diameter model in Abu Dhabi to gauge the exact results in the natural light of the place.
There are 17 glass ceilings within the museum galleries incorporating both natural and artificial lighting, together containing 25,000 individual pieces of glass. The windows and roof lights each have two diffusers and a blackout blind to further control light levels and exposure.

The artificial lighting includes seven bespoke chandeliers that hang over the VIP tables in the Nouvel-design restaurant. They have special adapters so that candles can be swapped for electric lamps.

The inspiration came from traditional mosque lamps but uses technology normally seen in bicycle wheel design. They were built by Mobilier National whose workshops have created furniture for the French state since the 17th century. The light reflects off spokes and rings of polished stainless steel and is refracted through delicate capsules of hand-blown Bohemian glass.
As well as Ateliers Jean Nouvel, the design team included architects Hala Wardé, engineers Buro Happold, and Transsolar.

Publisher’s Lifetime Achievement Award

in association with Lighting Magazine


James Carpenter

For almost half a century, James Carpenter has been a ‘towering presence’ at the intersection of architecture, fine art, and engineering.

He has advanced a distinctive vision based on the use of natural light as the foundational element of the built environment. Originally studying architecture before concentrating on the fine arts, Carpenter is founder of the cross-disciplinary design firm James Carpenter Design Associates and co-founder, with British architect Luke Lowings, of Carpenter Lowings, which won the prestigious Architectural Practice of the Year at the Lighting Design Awards 2017.

Standout works include the acclaimed Sky Reflector-Net at the Fulton Center in New York, Folded Light in London – winner in the Daylight Project of the Year category in the 2017 Lighting Design Awards – and the Apple Store in London. Carpenter holds a degree from the Rhode Island School of Design, and was a Loeb Fellow of Harvard University’s Graduate School of Design and a Mellon Teaching Fellow at the University of Chicago.

Hotel and Restaurant Project of the Year


FIVE Palm Jumeirah Dubai, UAE – Inverse Lighting Design

A visionary beachfront resort blending California cool and Dubai spectacle, the FIVE Palm Jumeirah comprises 477 rooms and suites across sixteen floors. Featuring a striking amphitheatre design with signature central glass cube and 60 metre vanishing pool, the hotel is also home to ten restaurants and nightlife settings, spa, beach pool, kids club and health and wellness areas.

Unlike any other hotel lobby, the FIVE Palm Jumairah is designed with a show-stopping iconic entrance. It welcomes guests to the spiritual heart of the building creating a transcendental experience with views across the swimming pool, Dubai Marina skyline and oceanic horizons.
It was extremely important that the lighting complements this idea to bring out its beauty. Inverse’s design has successfully achieved this whilst maintaining an uncompromising approach to the lighting of the rest of the project by providing the moods that the guests enjoy.

The result is a lighting scheme that the first urban resort of its kind in the region deserves.
Inverse was commissioned to design the interior and exterior lighting for the state-of-the art architecture and the interior. The most striking design element of the project is the glass cube, which sits at the centre, housing an intricate wooden creation inspired by the Islamic pointed arch and the structure of DNA.
After several mock-ups and trials, Inverse took a deliberate decision to illuminate the sculpture with the light sources that are below the floor for an effective three dimensional view of the stunning structure.

The result was a beautiful dramatic object, which has become a centre piece of the hotel.
The exterior lighting is designed to be subtle, and to complement the architecture and landscape – to please the eye without compromising on the required ground brightness.

The linear light sources are concealed to the perimeter of the arch, framing the building with glow. The trees along the pool were uplighted to create a rhythm. The pool is delineated with concealed linear LED light sources to the perimeter, in addition to minimal number of pool lights. The low level skirting lighting were designed to frame the planters.
It was a significant challenge, as per the LEED requirement, to design an external lighting that the total uplighting would not exceed 5 per cent of the total initial designed luminaire lumens and all site and building-mounted luminaires produce a maximum initial illuminance value no greater than 0.20 horizontal and vertical footcandles (2.0 horizontal and vertical lux) at the project boundary and no greater than 0.01 horizontal footcandles (0.1 horizontal lux) 4.5 metres beyond the site.

Several calculations were carried out to ensure that the threshold lighting is within the limits of the requirement.
Designed by Yabu Pushelberg, Nao Taniyama and Joyce Wang Studio, the interiors feature a calming palette of neutral colours working in harmony alongside teal and brushed bronze finishes. Inverse developed a lighting scheme that induces pleasant emotions, creates styles and functions as necessary for visual tasks. The lighting creates sparkle and accent on features while setting calm and mood to the luxuries interior.
The sources selected for the interior are mainly LED to meet the LEED requirements.

The moody night time scenes create pleasant atmosphere for the guests and residents to enjoy a panorama of breathtaking views.



Yabu Pushelberg – interior designer
Nao Taniyama – interior designer
Joyce Wang Studio – interior designer
Studio Paolo Ferrari – interior designer
Topo Design Studio – landscape designer
FIVE Real Estate Development – architect

All copyrights belong to FIVE Real Estate Development.

Highly Commended: Mei Ume, London, UK – dpa Lighting Consultants
Highly Commended: V&A Members Room, London, UK – PJC Light Studio
Commended: Ichibuns, London, UK – Light IQ

Leisure Project of the Year


Tiffany Gallery, New-York Historical Society – dpa lighting consultants

The brief was to present this unique Tiffany Lamp collection in a new gallery featuring a contemporary glass staircase which was to provide an impressive sculptural object in its own right.

The gallery is about light, glass and the story of the Tiffany Girls. The concept was for the stair to float in the space using a cool white light, contrasting with the highly decorative and colourful Tiffany shades. The challenge was to illuminate each Tiffany Lamp respecting its colours and ensuring its presence in the gallery was strong, whilst balancing this with the feature staircase and gallery envelope.

The feature glass staircase has two integrated linear LED lighting components, one to the treads and one to the structural fins. The result was achieved after extensive consideration and physical testing. The power cables feeding the LED strips were also extremely carefully designed in terms of their physical appearance and concealment not to be detrimental to the staircase or the gallery as a whole.

The importance and sensitivity of the Tiffany Lamp collection, the purpose for the gallery, meant that the lamp selection for these historic fixtures had to be very carefully considered. Again, extensive physical testing took place on several visits to New York working closely with the client and design team. The result was the development of special bases onto LED retro fit lamps of differing wattages creating a family that could be used throughout the collection.

The brief required the creation of a spectacular, custom-designed glass gallery showcasing the preeminent collection of Tiffany lamps. The gallery comprises of a 4,800-square-foot, two-story space with an elegant glass Norman S. Benzaquen grand staircase. The center-piece of the fourth floor gallery features 100 illuminated Tiffany lamps from New-York Historical’s collection displayed within a dramatically lit jewel-like space.

The project was inspired by New-York Historical’s discovery of the unknown story of Clara Driscoll and the Tiffany Girls, who designed and created iconic Tiffany lamps at the turn of the 20th century.

The stair underwent considerable design input by all concerned, the team carried out numerous studies and mock- ups, which has culminated in the carefully integrated linear LED lighting elements to the stair treads and supporting fins. A cool crisp white light was chosen so as to complement the glass structure whilst also contrasting the warm light used within the Tiffany Lamps.

The lamping of the Tiffany lamps themselves raised some interesting philosophical questions which were debated with the curatorial team at the museum and internally at dpa. One key question was whether the lamps used should provide an accurate representation of the tungsten lamps used historically or whether the visual impact of the Tiffany Lamps was the most important factor.

After much debate and trialling of numerous retrofit LED lamps, a palette of high CRI ‘filament style’ LED lamps was settled upon which paid respect to tungsten sources in terms of look, colour temperature and colour rendering but offered the energy savings of LED and reduced the heat build-up within the display cases.

Another question included whether specific lamps should be provided with additional illumination to further reveal and highlight the craftsmanship and decoration of their bases, but it was decided that the lighting of the bases should reflect how they were presented historically using the spill light from the shades above.

Whilst the glass staircase and Tiffany lamps themselves are the star attractions in the gallery, the lighting design challenges also included the integration of illumination to other exhibits, descriptive texts and graphics. dpa worked closely with the architects and the display case suppliers to integrate and conceal lighting within the cases and again mock-ups proved an invaluable tool in the testing and refining stages of the casework development.

Project credits:

Nick Hoggett, Partner -dpa Lighting Consultants
David Moore, Associate – dpa Lighting Consultants
Ian Clarke, Associate – dpa Lighting Consultants
Ashley Rogers, Designer – dpa Lighting Consultants

Eva Jiřičná Architect:
Eva Jiřičná – principal,
Georgina Papathanasiou – project Lead
Duncan Webster
Ida Szymansk

PBDW Architects:
Scott Duenow – partner in charge
Brigitte Cook – project manager
Edward May

GL&SS Consulting Engineers
 – Staircase design
Robert Silman Associates 
- Structural engineers
Ambrosino DePinto & Schmieder Engineers – MEP engineers
RC Dolner – Construction manager
Donna Lawrence Productions – film production
Batwin & Robin – Multimedia designer
Electrosonic – Multimedia integrator
IROS Elevator – Elevator consultant
Gerhard Schlanzky – New-York Historical Society, creative director and director of exhibitions – exhibition design
Poulin & Morris – Signage
Andrew Buonpastore – New-York Historical Society, vice president of operations and capital projects – project manager
Westview Productions
Interactive Design Company – Responsible for creation of the Tiffany Build-a-Lamp exhibit – lighting control systems and integration.
Corrado Serra and Jon Wallen – Project photographer

Lighting equipment:
Segula – LED retro – Fit lamps for within the Tiffany Lamps
Edison Price – Track lighting
Lucifer Lighting – Fixed and adjustable pinhole LED downlights, uued to light the top of mezzanine area and the spine to the top of the gallery ceiling.
Philips/Color Kinetics – linear LED cove lighting installations
Osram Sylvania – Linear LED
Cooper Lighting – General purpose linear LED luminaires for ‘back of house’/storage areas
Luxam Fibre Optics – Display case lighting
KKDC – Linear LED [including within the Tiffany Staircase]
acdc Lighting – recessed floor washlights and emergency downlights to Tiffany Staircase
XAL – Trimless ceiling luminaires
Applelec – LED Light Sheet for label decks in display cases
Roblon – LED fixtures in specific display cases

Highly Commended: The London Mithraeum, London, UK – Tillotson Design Associates and Schreiber Studio.
Highly Commended: Oslo Airport, Norway – Speirs + Major
Commended: Bike Square, Basel, Switzerland – Licht Kunst Licht

Retail Project of the Year

in association with iGuzzini


Balenciaga, Paris – Licht Kunst Licht

The Balenciaga flagship store, prominently located on 336 Rue Saint-Honoré in Paris has received an extensive interior design makeover by the architectural studio Gonzalez Haase AAS.
Licht Kunst Licht in collaboration with the architects has provided a bespoke a lighting solution that underlines the quality of the sophisticated retail space and promotes exclusive shopping experiences.

The architects from the Berlin-based architectural studio Gonzalez Haase sought inspiration in old factories and warehouses. The monochrome colour spectrum of the materials and surfaces used creates an extreme contrast with the exclusive designer clothing on display. The predominant use of materials such as stainless steel for the clothes rail transport system and hangers and reflective aluminium foils on the ceiling tell stories about textile manufacturing processes, which the lighting designers underline with the lighting concept. Steel profiles running from wall to wall offer three different light sources: indirect lighting for orchestration of the ceiling plane, graphical linear light profiles tracing the undersides of the beams and regularly places clusters of spotlights for accentuation of the designer products.

The lighting solution was required to react appropriately to the new interior design with its reference to a warehouse and the distinct industrial, yet elegant and sophisticated atmosphere. Light fixtures for general, accent and decorative lighting are used to create a balanced mix of horizontal and vertical illuminance intensities.

The ceiling plane with the reflective cladding made of textured aluminium is a defining element to the interior space. Hence, white LED fixtures – with tuneable colour temperatures in the range of 2700K to 6500K were intentionally chosen to aid in emphasising the ceiling as an overall decorative element.

The lighting components specified utilise the latest lighting technology with highest possible efficiency and provide benefits with regards to energy efficiency and ease of maintenance. The store meets LEED requirements.
As the first boutique for the fashion label Balenciaga, the flagship store on prominent Rue St. Honoré in Paris has received an innovative and sophisticated new design. In close collaboration with Gonzalez Haase, the lighting designers have developed a bespoke lighting solution underlining the extraordinary interior design of the space.

Inspired by old factories and warehouses, the architects introduced a clothing transport system made of polished stainless steel connecting display cabinets, changing rooms and storage spaces. The system allows for the manual transport of clothing items across the boutique and emphasises the open character of the space.

The monochrome colour spectrum of the materials and surfaces creates an extreme contrast with the exclusive designer clothes. The predominant use of materials such as stainless steel and reflective aluminium strongly contributes to the industrial aesthetics of the space.
The main objective for the lighting concept was to underline the sophisticated, clean interior design. Therefore, all lighting elements have been integrated in the suspended beams running across the space at a distance of approximately 2,80m.

Concealed indirect lighting orchestrate the ceiling plane which is clad with reflective, textured aluminium foils; continuous lighting profiles trace the beams as two parallel and diffused lines of light adding a graphical component to the ceiling and last, but not least, adjustable spotlights for accentuate the clothing items.

The spotlights have been customised regarding their adjustability and mounting detail at the sides of the beams and are grouped into clusters of tree. Arranged at regular distances throughout the space, a powerful grid for accent lighting has been created.

Thorough calculations and mock-ups have been conducted in order to determine the most efficient fixture spacing, beam angles, light distribution and direction to avoid glare and collision of light beams with the clothing transport system which runs 75cm underneath the fixture plane.
Furniture integrated lighting fixtures have been kept out of view and carefully chosen to achieve a well-balanced hierarchy of intensities in the overall view.

The illumination conveys a sense of lightness and freshness promoting an appealing view through the fully glazed exterior façade.
Using state of the art technologies, the majority of the LED luminaires are dimmable and pre-programmed lighting scenes for day and seasons can be intuitively retrieved via a touch panel to accommodate different user scenarios. The lighting solution for the store provides quantifiable benefits regarding energy efficiency and maintenance: The store meets LEED requirements.

Project credits:

Laura Sudbrock – Licht Kunst Licht
Malte Simon – Licht Kunst Licht
Konstantin Klaas – Licht Kunst Licht
Edwin Smida – Licht Kunst Licht

Gonzalez Haase – Architect
Ganter Group – General contractor
Dieter Ertl – Photographer

Lighting equipment employed
General illumination:
Insta – lighting profile with 19W/m, tuneable white, 2.700 – 6.500K for indirect lighting,
LED Linear – lighting profile with LED 10W/m for direct illumination

Merchandise illumination:
iGuzzini – adjustable surface mounted spotlight with LED, 16W, different light distributions, mounting bracket custom-tailored for installation on suspended beam
Illumination of display tables: Osram – diffused linear lighting profile, 25W/m
Illumination of changing rooms: Osram – diffused linear lighting profile, 25W/m
llumination of back of house spaces: Flos – Running Magnet, adjustable spotlights

Highly Commended: Dolce & Gabbana, Palazzo Torres, Venice, Italy – Mindseye Lighting
Highly Commended: Pret a Manger, Verde Building, London, UK – Light IQ

Heritage Project of the Year


Ulm Minster – Ingenieure Bamberger

As a gothic church with natural lighting, Ulm Minster is an impressive example of the gothic as ‘constructed light’.
The nave is more than 40m high and gets daylight through the clerestory windows, and this makes it possible to perceive the dimensions of the space.

The main nave is flooded with light, allowing one to visualise the phenomenal sense of space that can develop inside the church and the way in which usual proportions are suspended.
At the same time, the minster’s extraordinary height is its greatest weakness, as far as modern opinion is concerned, as this affects the distribution of natural light. The aisles and their stained-glass windows disappear on cloudy days – this is blamed on attitudes at the time.

There is just about sufficient daylight for reading. The pendant luminaires from the 80s lit the pews directly and proved inadequate as functional lighting. At night, the vaulted space was entirely in the shade.
The lighting concept developed for the minster sets Gothic architecture and its natural distribution of light as the standard.
It not only complements the lack of functional light, but continues the spatial experience derived from the natural direction of the light and the intentions of earlier architects.

Pendant luminaires were developed to solve this issue and take their place in the bays between the main nave and the aisles as if they were part of the original lighting (see floor plan and sections).
The views of the naves remain uninhibited; the view of the arches is unhampered. The lighting issues have been resolved by means of lighting heads mounted on the pendant luminaires.

The lighting heads supply light for the entire space within the church: both the functional light that illuminates the benches beneath and supplements the weak natural light, and the lights illuminating the architecture.
Lighting heads directed upwards open up the dimensions and add to the natural light effect, even when light is not coming through the clerestory windows.

This form of perceptible space and architecture is the standard for our approach to dealing with artificial light and the understanding of historical development with its own context of socialisation, culture and spirituality.
It is necessary to put this site in context in its current manifestation, i.e. contemporary use at the beginning of the 21st century. This means attempting to transform it from its previous state into something contemporary by means of lighting.

Project credits:

Ingenieure Bamberger:
Walter Bamberger – team director
Andreas Fürsich
Monika Kadlubek

Highly Commended: Hintze Hall, Natural History Museum, London, UK – DHA Designs
Commended: The Winter Garden, The Grand Hotel, Stockholm, Sweden – ÅF Lighting

Community & Public Realm Project of the Year

in association with Louis Poulsen


The Piece Hall, Halifax, UK – BuroHappold

The Piece Hall is the only remaining 18th century northern halls, built to support the trading of ‘pieces’ woollen cloth. The public courtyard and the buildings of the grade 1 listed site have been transformed to create a shared contemporary public space for the city of Halifax. This project is an example of regeneration and re-use of a building through a considered lighting approach that addresses conservation, function and place-making.

The design addresses the heritage brief by revealing the volume of the space, the building elevations and materials, while on a functional level it improves accessibility and use of this historically important site at night. Piece Hall is a great example of the type of space that can be created by designing for people and not light levels, at night.
Where through the use of reflected light, careful detailing and a solid understanding of contrast a unique human experience has been created. Parts of the space in the centre were left intentionally dark where only marker lights guide a path across the flat area of the square, proving how little light was required within the site.

The finished lit result gives this historic site presence and you can’t help be impressed as you come through the narrow openings in the solid perimeter wall into a vast courtyard with a series of beautiful colonnades, lit to reveal form and rhythm.

The feature steps, fountains, bespoke furniture and lighting all contribute to the contemporary design language which is detailed in such a way as to compliment the impressive architectural features and materials of the historic buildings
The lighting of The Piece Hall had a number of challenges. Fittings could not be fitted to the historic facade unless there was already a cabling route so fixing to the original building was very minimal and had to be agreed with a number of consultants.

It was agreed early on that the space was to have no columns as they would not be historically appropriate for the age of the buildings, therefore the majority of light had to be provided from the hard landscaping. This meant balancing levels, contrast and glare was very challenging. Both modelling, site visits to spaces and mock-ups, all assisted with convincing the client the scheme would work.

The layered approach to lighting was chosen to create and emphasise the spaces within the historic façade and encourage visitors to explore. The colour selection of cool within the plaza and warm for the buildings works to reduce the scale of the plaza, making it more inviting; it also assists with creating a strong visual identity.
The lighting placement enhances the depth and colour of the historic architecture while providing a safe and secure environment in the hours of darkness.

Using the facade as a reflector to give edges to the square and bounce light back into the walkways. Proving the centre of the space did not need to be illuminated during normal use. Understanding issues of scale and lighting only half of the columns to provide sufficient light. To light all of them would have been too costly and to energy heavy.

The brief requested that the central square was to remain flexible for markets and events, for this reason recessed flat glass marker lights were selected to provide ambient light when the space is not in use. A fitting was chosen with an optic that pushes light sideways to create a glow although the luminaire is flush mounted. When market stalls come in power is in the ground for them to rig up their lighting. Similarly with events in the square there are opportunities to rig up temporary lighting rigs.

By illuminating various architectural features and incorporating lighting into the ground in a measured and controlled way, the courtyard is illuminated without the use of lighting columns that would not be authentic and restrict the use of the space.

The low-level lighting allows the architecture to be revealed at night as a lit backdrop to the perimeter and support the use and activity of the space.

By integrating lighting into the landscaping, handrails, steps, seating and water features, an easily maintainable design was achieved that was also human in scale and gentle on the eyes. Safety and comfort was central to the approach and illumination is provided where there are any changes in level.
A control system allows lighting to dim, offers various scenes for temporary events and reduces the overall energy consumption by offering a timeclock-controlled programme suitable for dusk, dawn and security.

Project credits:

Laura Phillips – design director
Amy Rennie – project lighting designer
Sarah Cockbain – lighting designer

LDN Architect:
Gillespies – landscape architects
Graham Construction
Stothers Building Engineers Services

Lighting equipment:
LEC Lyon

Highly Commended: Bank of America Corporate Center, Charlotte, USA – Focus Lighting
Highly Commended: Oxygen Park, Education City, Doha, Qatar – MBLD
Highly Commended: Sea World Culture and Arts Center, Shenzen, China – Grand Sight Design International
Highly Commended: Story Wall Eskilstuna, Sweden – ÅF Lighting
Highly Commended: Wilkins Terrace and Lower Refectory, University College London, UK – BDP

Daylight Project of the Year


Musee d’arts de Nantes, France – Light + AIr group, Max Fordham

Musee d’arts de Nantes is a expansive and historic institution, housing one of the ten largest collections of fine art in France.

The project presented exceptional challenges in lighting, both in linking the historic and new buildings together and in combining abundant natural light with an exciting and efficient artificial lighting scheme. This meant the Light + Air group needed to find a common identity across a wide range of dramatically different spaces. Daylight and electric lighting are always tricky to balance, all the more so when considering the very precise needs of a museum full of priceless works of art.

The different lit character of the spaces helps define the journey through the museum. Spaces displaying older parts of the collection, for example oil paintings, are treated with warm light focused onto the canvases to help lift the colours, whereas contemporary works are positioned in bright ambient spaces which have a more subtle style of emphasis. The design team worked with the curatorial team on the museography, and depending on the particular work, we might have anything from a single bold key light or just an ambiently lit space. Tone is important and the team endeavoured to balance cooler light near daylit spaces and as backlight in long views, with warmer lighting on the works themselves.

From inception to completion, the project took over seven years and in lighting design made a journey from reams of hand drawn sketches to detailed and complex computer modelling and extensive physical testing, which included bringing precious works of art into the partly completed site so the studio could light them in different ways.

The way daylight is filtered down into the gallery spaces, and how it subtly links with the supporting electric lights, is unique and allows the buildings to be more connected to outside and less demanding of electrical energy. This project leads the way in bringing all these issues together under the umbrella of a lighting scheme which is easy to use, minimal in its energy consumption and harmonious across over 17,000m2 in floor area. The client wanted to make better use of daylight and also have a flexible installation of museum lighting. The design concept was to therefore an intelligent system that balances between artificial lighting and daylight.

The practice wanted to give all the spaces a live ambience. So it employed a series of elements to deliver all the technical aspects of the brief but still plenty of characterful light. Built above each of the gallery there is a ‘top hat’ which contains the layers needed to manage the acoustic, lit and thermal environment.

It contains etched double glazing, which gently diffuses direct light but keeps it directional. Under this, a micro perforated acoustic layer and two layers of a stretch membrane manage the distribution of light.
The quantity of natural light is controlled but with a soft touch: on especially bright days, blinds start to close to preserve the artworks, but levels are usually allowed to vary in order to embrace the changeability of sun and skylight both in tone and intensity.

Glass of varying transmission is used above the galleries and for different orientations, to make the light more consistent and avoid overheating. Between galleries and external glazing, perforate blinds and diffusing membranes help manage brightness and even-out the light.

To assess how daylight and artificial light works together over the course of the year the Light + Air Group used new methods of analysis, including Radiance with Cumgensky, and 3ds-Max, for instantaneous and cumulative daylight analysis, and modelled artificial lighting with Rhino and Diva running Grasshopper. For analysing the effect of different glass and stretch surface build ups, the team used in house optical tools and plenty of practical experimentation.

Most of the main lighting pieces were bespoke designed for Nantes. These included light boxes in contemporary galleries and a more subtle profile cut through the ceilings of the palais ground floor spaces. In public areas like the restaurant, library and book store we hung light structures that discreetly emphasise the features of the existing Palais as well as adding a new layer of character.

The innovations ranged from new systems of daylight management, more comprehensive study of the lit character of the spaces and ways of incorporating LED technology sympathetically into historic spaces. The team spent a considerable amount of time examining how different types of LED spots light art works, moving away from the traditional measure of CRI into R9 and more.

Project credits:

Max Fordham:
Light + Air lighting designers
Nick Cramp – senior partner
Hazel Selby – senior lighting designer
Jocelyn Urvoy – lighting designer
Alex Cunningham – lighting designer

Stanton Williams Architects:
Patrick Richard – director
Anne Fehrenbach – project architect
Florence Vesval – architect

Hufton and Crow

Lighting equipment:
Gallery lighting (exhibition fittings):
Regent – track-spotlight-matrix-pal
Philips – stylid-projectors – stylid-perfectbeam
Gallery lighting (ambient fittings):
Philips – gentlespace- gen2
Philips – bespoke light boxes and lighting channels
Selux -bespoke pendants and suspended light
Modular Lighting Instruments – linear lighting, sl-micro
Delta Light

Commended: Thadeus Dermacare, Tuticorin, India – Locus

Integration Project of the Year


German Ivory Museum, Erbach, Germany – Licht Kunst Licht

The Odenwald town of Erbach became the centre of German ivory carving through the passion for travelling and subsequent collection of Count Franz’ I. zu Erbach-Erbach.

It was here in Erbach where the extensive collections were exhibited at the Werner Borchers Halle for many years, until its closing near the end of 2015. As of autumn 2016, a small but exquisite selection of the ivory sculptures have found a new home in the Erbach Palace.

Ivory is a controversial subject. Species protection programmes have successfully lobbied to outlaw poaching and the procurement of ivory – which deserves applause.

Exhibiting ivory artefacts – although old ones, did raise moral concerns. Any ivory exhibition occurs in this conflict area between cultural heritage and moral dilemma. The exhibition design and its illumination compellingly frame this outlook, not only by putting unprocessed tusks on display, but also in the detachment of the exhibits from their spatial container. This is a powerful built metaphor of how this art seems to have fallen out of time and space and now exists in a kind of parallel universe.

The invisibility of the spatial envelope was also largely stipulated by the fact that Erbach Palace is in general need of a refurbishment and there were no means for a building renovation.
Therefore, the exhibition concept presents the collection in darkened rooms with spatial boundaries finished in anthracite grey. Leading across this visually dissolved space, is a pier that offsets the differences in level and interconnects the showcases with a proverbial red thread.

This pontoon, clad in red leather, forms low balustrades on either side. The seamless integration of lighting in the extremely small, slanted recesses at their upper part was a challenge in its own right: Keeping the light sources concealed even in longitudinal views and across height differences was an essential part of the design.
Like luminous glass cubes, the display cases are arranged along this walkway. The lightly frosted lower third of the showcases glows by virtue of edge lighting and gently shrouds the object holders like a mist. Additionally, small profiles with miniature projectors are located in the upper edge of the showcase.

In spite of the extremely short design and execution period of less than a year, the result is an accentuated and glare free orchestration of the exhibits thus evoking the impression that the figurines emerge from a sort of fog.
The museum houses selected items from the State’s extensive collection in ivory artefacts in an intimate setting.
The architect’s exceptional exhibition concept architects frees itself from the building envelope and presents the collection in blacked-out rooms painted in anthracite.

The particular challenge was to maintain the invisibility of this space. For this purpose it was paramount to avoid mirror reflections of light sources in the glass and projected reflections from glass surfaces on the ceiling and walls. Therefore, all light sources had to be carefully shielded, particularly, when located outside a showcase.
A pier interconnects the displays, forming a proverbial red thread. The walking surface is emphasised by LED light, integrated in the low pier balustrades, thus transforming the walkway into a seemingly suspended path in an otherwise intangible spatial envelope.
The massive wood balustrade is fitted with a milled asymmetrical recess that houses and conceals the LED ribbon, which is also fitted with a black honeycomb louver.

The upper part of the balustrade is detachable to enable access for installation and maintenance. Yet, its massive aspect remains intact and the joints remain inconspicuous.

All drivers are stored underneath the pontoon.
The show cases themselves unfold their magic by virtue of two components:
The lower third of the showcase glazing is lightly frosted and fitted with edge lighting, concealed in the base.
It uses 5000K LED ribbons. As a result, the frosting assumes a gentle dewy brightness, that clouds the object holders.
The upper edge of the showcase holds small profiles with miniature projectors. These offer an accentuated and glare free orchestration of the exhibits.

The electrical feed consists of a flat cable invisibly embedded in the glass miter joint. All through-wiring then occurs in the profile. The spots are low-glare and use 3000K LEDs to bring out the creamy hues of the ivory exhibits.
The subtle interaction of these elements evokes the impression that the figurines emerge from a sort of fog.
One of the spaces uses existing historical closets for the exhibition of many small objects, fixed to the fleece-clad rear wall.
These are set in scene by means of concealed linear light sources inside the top of the furniture.
The last space sees off the visitor with a glimpse at yet unprocessed elephant and mammoth tusks. A focused pendant luminaire highlights it while leaving the rest of the space untouched.

Project credits:

Licht Kunst Licht:
Stephanie Grosse-Brockhoff – project lead
Andreas Schulz – product designer
Till Armbrüster
Felix Beier

Verwaltung der Staatlichen Schlösser und Gärten Hessen, Bad Homburg
Sichau & Walter Architekten BDA, Fulda / Dresden Mr Peter Sichau
Mr Patrick Tetzlaff
Ms Sarah Pietrucha
Electrical Engineer: 
Ingenieur-Planungsgesellschaft Dries + Liebold bmH, Rüdesheim am Rhein
box bewegtbild – media design

Sichau & Walter Architekten BDA, Fulda / Dresden
Walter Sichau,
Patrick Tetzlaff

Lighting equipment:
Pathway lighting:
LED Linear – VarioLED Flex Hydra HD6 White W930
With honeycomb louver
Louverlux Skandia – Alkucell-Wabenraster
Linear lighting integrated into milled recess in pathway balustrade

Showcase lighting:
XAL – Nano System
Illumination of wall closets:
LED Linear – VarioLED Flex HYDRA HD10

Highly Commended: Bloomberg European headquarters, London, UK – Tillotson Design Association and Foster + Partners
Commended: Kindai University Academic Theater, Osaka, Japan – Sirius Lighting Office

Light Art Project of the Year


First Sunset in the Pacific, Madrid, Spain – Clavel Architects

The project consists in the renovation of an existing obsolete two-storey car park, located in an affluent neighbourhood of the city centre, mainly oriented to transient and monthly users.

Three fundamental goals were pursued: making the parking more attractive to potential clients, reducing maintenance costs and minimizing impact on the car park operation.

The strategy to gather all objectives together was based on the use of light as the essential design element and the fundamental construction material: thanks to its own non-material nature, it guarantees the parking to look changeless throughout the years and allows to unveil the existing building instead of covering it.
Besides being a cost effective construction design (the necessary lighting system is used as a decorative element), it also reduces maintenance costs, since finishes don’t get altered over time.

Finally, the project has meant an economic success. Not only because the garage has become more popular among potential users, increasing direct revenues, but also due to a value added effect: the space has turned attractive in itself (not just as a garage), which allows to rent one of the levels (the other remains for subscribed users) as an event space during night hours, when transient parking reduces.

Considering both incoming sources, total facility revenues have increased by 50 per cent compared to before renovation. .
The parking design was devoted to the Spanish explorer Vasco Núñez de Balboa (the first European to reach the Pacific ocean, after whom the garage street is named), turning the daily search of a parking space into a time travel, back to 1513.
The entry, consisting of a tunnel of repetitive white light arches over a neutral black wall, invites the user to get into a completely unknown interior. Nothing seems to presage what is coming next inside.

Halfway, the tunnel expands and divides, providing access to a total of 37 places in two levels.
Right after the user reaches the parking floor, which surrounding walls, devoid of their old tile cladding and exposing their old brick materiality, are lighted half-orange half-blue in order to draw a clear horizon line.
This blue lighting, combined with the use of a same color epoxy coating, floods both floors with the intense colour of the Pacific Ocean.

However, it is when turning the car when a huge sunset surprises us, reflecting itself on the sea. A mirrored stretch ceiling covers the last section of the central corridor, generating an optical effect that simulates a complete sun with a simple semicircular light lamp.

The existing structure, made up of thick columns and powerful downstand beams, perform also a leading role in the design: the perception of superposed beams is taken as an opportunity to reinforce the experience by narrating the circumstances of the discovery in a lyric way. These backlit panels also integrate the general lighting for the parking space in his lower face.
This way, the rest of the ceiling remain as free planes which are used to show antique portraits of Núñez de Balboa, reproduced through monochromatic circles of different diameter: unnoticed and blurred from the central corridor, images become clear from the driver point of view when he parks, giving him the chance to make his own discovery.

Project credits:

Clavel Architects:
Manuel Clavel Rojo
Luis Clavel Sainz
Ana Fernández Martínez
Diego Victoria García

Building engineer:
David Hernández Conesa

Highly Commended: Concert for 3756 Light Instruments, Munich, Germany – 333
Commended: BioCity, Nottingham, UK – BDP
Commended: Hennessy: The Quest, Cognac, France – Arup
Commended: Waterlicht, numerous locations, Europe – Studio Roosegaarde

Architectural Luminaire Interior


Mito – Occhio

‘You simply can’t find a fault with this luminaire’ commented one of the product judging team who assessed a sample of the Mito by Occhio.

A harmonious unison of sensuous design and sophisticated lighting technology, the Mito is also cited by the judges as a ‘luminaire with incredible attention to detail’. 
The subtly defined ‘cut’ is the characteristic feature of Mito and shows off the quality workmanship to its best advantage. The suspended version is adjusted via touchless gesture control right at the light source – the luminaire head. Thanks to innovative sensors, the luminaire can be turned on/off and dimmed via gesture control, and the ‘fading’ function activated to continuously spread light between uplight and downlight.

Alternatively, Mito can be adjusted with the Occhio air app or the air controller. A new feature, colour tune, allows the colour temperature to be adjusted according to the situation. The light can thereby be set to match to mood – from a warm lighting atmosphere for a relaxed evening to an energising, cool working light. The light colour is infinitely adjustable between 2700 and 4000K. Mito can be delivered with a unique height adjustment feature as an option: Thanks to a sophisticated reel mechanism, the pendant length can be easily and precisely adjusted whenever necessary. The cables lengthen or shorten as if by magic, always in a completely even and smooth motion. It’s available in six different surfaces including bronze and rose gold.

Project credits:

Design: Axel Meise

Highly Commended: Infra-Structure – Vincent Van Duysen for Flos Architectural by Atrium
Highly Commended: Typography – Studio Truly Truly x Rakumba Lighting
Commended: Ripls – Louis Poulsen

Architectural Luminaire Exterior


EcoSense RISE – EcoSense Lighting

The design philosophy for RISE was to create the most complete system of LED accent, landscape and floodlighting fixtures that the market has ever seen, delivering lumen packages from 300 lm to 11,200 lm. The judges agreed that the product range is a huge achievement, and cited its flexiblity and extraordinary power-to-size ration.

RISE was designed as a completely scalable system that provides lighting designers with a huge palette of options in a compact and elegant form factor. 
From one single installation point, RISE is configurable with a choice of lumen packages, colour temperatures and beam angles.

With the strongest centre-beam candlepower, RISE is twice as powerful as the market average. 
RISE is the world’s most compact floodlight with the Features Macro Lock for easy one-touch aiming, and ultimate flexibility. This uniquely designed hinge allows the fixture to be easily tilted from 0 degree to 180 degrees, and panned 360 degrees. The secondary optic is made of a durable acrylic and and has a 5-degree light distribution. The tertiary lens that sits above the secondary lens is made of UL f1 rated UV-stabilized PC, which results in lower haze over long term exposure and better strength against impact. This superior UV stabilisation will prevent yellowing for up to 10 years depending on UV exposure. Tertiary lens are available in 0 (Clear), 10, 15, 20, 40, 60, 80, 15×60, 30×60, 60×15, 60×30.

Highly Commended: Lander – iGuzzini
Commended: 3D LED Flex 40 IP66 GNI – Radiant Architectural Lighting
Commended: Light Up Earth Super Comfort – iGuzzini

Product Designer of the Year


Michael Anastassiades

The product designer of the year for 2017 is named as Cypriot Michael Anastassiades, whom the judges said had produced a string of ‘instant lighting classics’ in recent years, which were both artistic and commercial successes.
Stand out designs include the IC range, Captain Flint, String and Arrangements, all for Flos.

Michael Anastassiades launched his studio in 1994 to explore contemporary notions of culture and aesthetics through a combination of product, furniture and environmental design. Positioned between fine art and design, his work aims to provoke dialogue, participation and interaction. He creates objects that are minimal, utilitarian and almost mundane, yet full of vitality one might not expect.

Anastassiades studied industrial design and engineering at London’s Royal College of Art and Imperial College. He founded his London design studio in 1994, and began collaborating with many respected firms, including Studio Mumbai. Since then, Anastassiades has worked with some of the world’s leading architects, including David Chipperfield and John Pawson, as well as interior designers such as Studio Ilse.

His lights can be seen in hotels, restaurants, and stores worldwide, including the Grand Hotel Stockholm, Soho House New York, and the Sergio Rossi boutiques worldwide. Anastassiades is particularly renowned for his lighting products. He often chooses reflective materials—such as mirrored glass and polished bronze—that appear to dematerialise his objects, and to float independently, interacting with the space surrounding them.

Anastassiades’ work is featured in permanent collections at the Museum of Modern Art in New York, the Victoria and Albert Museum, London, the Craft Council in London, the FRAC Centre in Orleans, France, and the MAK in Vienna. His solo exhibitions include Time and Again at the Geymüllerschlössel/MAK in Vienna, To Be Perfectly Frank at Svenskt Tenn in Stockholm, Norfolk House Music room at the Victoria and Albert Museum, London, Cyprus Presidency at the European Parliament in Brussels, Belgium.
One of the most recent exhibitions explores what Anastassiades calls the ‘contemporary anxieties of modern Cyprus’ entitled Reload the Current Page at the Point Centre for Contemporary Art in Nicosia, Cyprus, and the collection General Illuminations, as part of the exhibition Doings on Time and Light at Rodeo Gallery, Istanbul.

He has designed products with various leading manufacturers including FLOS, Lobmeyr and Svenskt Tenn.
In 2007 he set up the company Michael Anastassiades Ltd to produce his signature pieces; a collection of lighting, furniture, jewellery, and tabletop objects. The studio’s philosophy is a continuous search for eclecticism, individuality, and timeless qualities in design.

Michael Anastassiades trained as a civil engineer at London’s Imperial College of Science Technology and Medicine before taking a masters degree in industrial design at the Royal College of Art. He lives and works in London.

Supplier of the Year



Architainment Lighting was cited but by the judging team for its ‘outstanding serve and support for the lighting design community’.

It’s a specialist lighting company, providing specification grade lighting and control solutions for a wide range of architectural lighting applications. It partners with designers and specifiers with an extensive portfolio of RGB, white light and control products.

Over the past 15 years the company has built up a reputation for technical expertise and on-site support throughout the duration of the project.
The company represents a plethora of top brands including LED Linear, Philips Color Kinetics and Ecosense, and many of the relationships date back over 10 years. Architainment has become involved in the supply of many high profile projects with budgets totalling in excess of £42 million, including Alexandra Palace, The London Eye and The Science Museum. The company has seen continual growth since 2003, with exceptional growth over the past couple of years.

40under40 2018

in association with Osram

Class of 2018 young lighting design talent receives their accolades

The generation of young designers making up the annual 40under40 – an international programme to identify the most talented and promising individuals working in the lighting design industry – received their trophies at the 42nd Lighting Design Awards 2018.

The 22 men and 18 women – selected from over 350 applications – hail from 12 different countries, including the UAE, Turkey, India, China, Brazil, the US, Germany, Italy, Singapore and Sweden.The designers received their trophies before keynote speaker James Carpenter at the prestigious Lighting Design Awards ceremony on Thursday 5 May at the London Hilton Park Lane.‘The achievements of these outstanding young people – be they creative, academic or philanthropic – are phenomenal and the selection panel were incredibly impressed,’ said Ray Molony, chairman of the 40under40 international selection panel. ‘This year’s cohort are truly outstanding and it is set to make a huge contribution. This industry is in safe hands for the future’.

The 40under40 – in association with the global lighting brand Osram – was founded in 2016 to celebrate 40 years of the Lighting Design Awards and to create a mechanism so that the lighting industry could recognise and celebrate its emerging talent.The 2018 selectors are Suzanne Tillotson, founder of Tillotson Design Associates and current Lighting Designer of the Year; Kai Piippo, head of design at ÅF Lighting; Jill Entwistle, editor, Lighting magazine; Jason Vaughan, head of lighting solutions UK at Osram and Ray Molony, publisher, Lighting magazine.

The official 40under40 2018:

Nicola Agresta – Inverse Lighting Design | London
Pavlina Akritas – Arup | London
Nick Albert – Illuminate Lighting Design | California
Brian Belluomini – Shimstone Design Studio | New York
Galen Burrell – Arup | San Francisco
Iain Carlile – dpa lighting consultants | London
Mariana de Novaes Reis – Atiaîa Design | Brazil
Tejas Doshi – Light & Beyond | Kolkata
Erin Dreyfous – Tillotson Design Associates | New York
Nicolas Dufils – L’Observatoire International | New York
Fanny Englund – ÅF Lighting | Stockholm
Federico Favero – KTH Lighting Design department | Stockholm
Rachel Fitzgerald – Stantec | Denver
Shigeki Fujii – Nipek | Singapore
Helena Gentili – Helena Gentili Lighting Design | Milan
Meike Goessling -Lichtvision Design | Hong Kong
Jeff Hoenig – Cline Bettridge Bernstein Lighting Design | New York
Trevor Hollins – HDR | Nebraska
Guojian Hu – Shanghai Ruiyi Design | Shanghai
John Jacobsen – Schuler Shook | Chicago
Shan Jiang – Tillotson Design Associates | New York
Reiko Komiyama Kagawa – Sladen Feinstein Integrated Lighting | Boston
Kera Lagios – Integral Group | California
Melvyn Law – Limelight Atelier | Singapore
Michael Lindsey – Horton Lees Brogden Lighting Design | Denver
Dan Lister – Arup | Sheffield
Stacie M.Dinwiddy – KGM Architectural Lighting | New York
Amaia Puras-Ustarroz – Horton Lees Brogden Lighting Design | Los Angeles
Philip Rafael – The Flaming Beacon | Berlin
Linda Salamoun – Steensen Varming | London
Louise Santiago – dpa lighting consultants | Dubai
Bradley Sisenwain – Horton Lees Brogden Lighting Design | New York
Neha Sivaprasad – Illuminate Lighting Design | California
Craig Spring – Luminosity | Colorado
Chrysanthi Stockwell – HGA Architects and Engineers | Minnesota
Brandon Thrasher – Horton Lees Brogden Lighting Design | San Francisco
Faruk Uyan – LAB.1 Lighting Design | Istanbul
Isabel Villar – White Arkitekter | Stockholm
Dan Weissman – Lam Partners | Boston
Kevin Womack – Arup | New York