Winners announced at the Lighting Design Awards 2019


Three projects from China, two each from Australia and the UK and one each from Japan, the UAE and Taiwan – have taken the top honours at the forty-third Lighting Design Awards in London.

The winners were announced at a glamorous black-tie event at the Troxy in London attended by 600 designers, architects and suppliers and featuring rapper Jords and comedian Ian Stone.

The lighting design practice of the year for 2019 is named as the Australian firm Electrolight, who, along with UK sister office 18 Degrees, had three winning projects.

Electrolight was the lighting designer for the winners in both the Retail Project of the Year, the T2 Luxury Mall at Melbourne Airport and the Public Realm and Landscape Project of the Year, the Sound Tube, also in Melbourne, while 18 Degrees prevailed in the Heritage Project of the Year with the International Presbyterian Church in west London.

The emerging practice of the year for 2019 is named as Los Angeles, California-based Oculus. It was cited for its company culture and called ‘a studio whose passion is at the heart of everything it does’.

The Publishers’ Lifetime Achievement Award goes to the Czech architect Eva Jiřičná and the product designer of the year for 2019 is named as London-based luminaire specialist David Morgan.

Hotel Project of the Year

in association with LAMP


Muh Shoou Xix Hotel, Hangzhou, China – Prolighting

Located in the Xixi wetland in the province of Hangzhou, the Muh Shoou Xixi Resort Hotel covers an area of 7,000 square metres and has a landscape area of 36,000 square metres.
The architecture and landscape enter into a dialogue with the surrounding mountains and rivers, and the brief for the lighting was the same. Natural light was the soul of the lighting design throughout all stages of the project.

The lighting of the architecture and the landscape exploits the design rhythm of the location, with surface light articulating the ageing texture of the rough materials. Glass materiality generates a feeling of space and allows the inner penetration of daylight.

Through the minimalism conception, the original environment background of wetland is strengthened, reflecting the atmosphere of harmonious coexistence between human and nature.

The path of hotel is covered with verdant vegetation on both sides, and the custom-made lanterns provide the main lighting of the path. Along with the winding terrain, the trees and lights appear randomly.

The lighting design by characterised by light and shadow interplaying on the block surface of natural materials, creating rich but restrained interiors and allowing nature, such as the glimpse of wetland forest trees out of the window, to connect occupants with the natural world.

Commended: Four Seasons Hotel at Burj Alshaya, Kuwait by Inverse Lighting Design
Commended: Morpheus, Macau, China by Isometrix Lighting + Design
Shortlisted: Alila Wuzhen, Zhejiang, China by Brandston Partnership
Shortlisted: The Retreat at Blue Lagoon, Grindavík, Iceland by Liska

Restaurant Project of the Year

in association with targetti


Four Seasons Restaurant, New York, USA
Tillotson Design Associates

The primary objective of the lighting design for this iconic restaurant relocation in New York City was to create a high-end dining experience for patrons where everyone ‘looks and feels beautiful’.

For this reason, harsh downlighting was avoided in the main dining room. In its place, a custom decorative installation of intersecting bronze tubes provides soft indirect light, capable of light levels ranging from 10 to 200 lux for the lunch to dinner transition.

A close collaboration between the architectural lighting designer and custom fixture fabricator ensures the aesthetic, colour temperature, output, and dimming range is appropriate for the application and can also meet the strict emergency light level requirements so that no additional lighting clutters the pristine ceiling plane.

On the tables, custom, battery-powered table lamps provide flattering front lighting at a more intimate scale. The windows in the dining room are encased with gold threaded mesh panels, including linear LED grazers integrated into their bottom support frames.

Grazing the mesh from the outside provides privacy screening for the restaurant at night, as well as highlighting the material from the exterior perspective.

In contrast to the dining space, the bar and tunnel are a more dramatic experience, with darker finishes and a minimal quantity of small-scale accent lights that emphasise the moody ambiance.

In the bar, linear grazers recessed into the floor and concealed by the air-diffuser grilles highlight the hand-blown glass beads along the perimeter glazing, adding sparkle reminiscent of the original restaurant space.

The central sunken bar is highlighted with table lamps and a linear grazer under the countertop, visually anchoring the centre of the room. The subdued tunnel acts as a palate cleanser between the contrasting bar and dining room atmospheres, leading patrons from dim to light with randomly placed miniature LED point lights highlighting the wrapping bronze interior.

The lighting of the entire restaurant is seamlessly integrated into architectural details whenever possible, leaving only decorative fixtures exposed and visible.

As a prime example, the bathroom entry corridors include a wooden trellis ceiling, with an uplit finished wood ceiling beyond.
Fixtures are concealed within the trellis frame at the perimeter, creating a soft and magical moment before entering the restrooms.

Project Credits:

Designer: Suzan Tillotson, Erin Dreyfous, Megan Trimarchi
Design architect: Isay Weinfeld
Architect of record: Montroy Anderson DeMarco
Custom fixture designer: Michael Anastassiades
Electrical contractor: Adco Electrical
Electrical engineer: Stantec Consulting Services
Lighting equipment: USA Illumination, Lukas Lighting, Flos, Luminii, Electrix, Moda Light, Interlux, Apure, Lutron
Photography: Fernando Guerra and John Muggenborg

Highly Commended: Polycarbonate Neverland – Aranya Kid’s Restaurant, Hebei Sheng, China by Gradient Lighting Design
Commended: NĂM, Kiev, Ukraine by Expolight
Shortlisted: HIDE, London, UK by Speirs + Major
Shortlisted: Restaurant Normal, Kiev, Ukraine by Expolight
Shortlisted: MNKY HSE, London, UK by Technical Arts

Leisure Project of the Year

in association with LEDflex


New Shanghai Theatre, Shanghai, China
Unolai Lighting Design + Associates

The timeless romance between light and darkness, choreographed by architecture and delicately intensified by illumination, breathes life into the New Shanghai Theatre.

Embedded in an historic site in the Shanghai streetscape, a stone façade tucks inward to invite passage at the human scale, where fluted bronze walls, accentuated by custom sconces, draw visitors across the threshold.

Subtle coves allow these walls to ‘float’, evoking the rich folds of theatre curtains. Stepping inside, visitors’ eyes immediately lift to a vaulting skylight.

Light plays a starring role throughout: luminous voids counterbalance heavy mass; strategically augmented skylights deepen the dramatic dialogue between illumination and shadow.

Throughout the theatre, strategically-calculated electric light plays a supporting role within the skylights, drawing out longer melodies from the ever-changing play of sunlight on architecture.

Light captures a starring role in the building’s drama, with heavy mass counterbalanced by vaulting voids that reveal the luminous sky. To achieve this effect, close collaboration with the architect was critical.

Ambient luminescence comes as cool natural light, augmented by LED fixtures strategically selected and angled to follow the sun’s movement. In contrast, the focal glow is warm as daylight’s electric counterpart. Theatrical sparkle dances along walls and hovers weightlessly in sudden openings in the building’s tectonic presence.

Exhaustive sun studies were conducted to allow for an ‘invisible’ enhancement of daylight through seven roof apertures. The site had strict limitations on horizontal daylight access, so these skylights were crucial in creating a dramatic inside and outside dialogue.
The lighting challenge was to employ these skylights to their maximum effect, contributing both visual emotion and functional illumination to the interior, while minimising excess energy use and reducing the building’s contribution to light bleed in a city notorious for over-illumination.
Studying the sun’s path, a series of models informed the precise placement, specification, and angling of LED fixtures within the skylights.
Another key technical challenge was the exclusion of visible ceiling fixtures, including downlights, throughout the architect’s aesthetic brief. In order to achieve minimum lux levels required for the building programme, creative workaround methods were employed extensively.
Subtle coves slip light onto the floor plane to meet circulation needs. Material mock-ups were crucial in ensuring that light was bounced indirectly off surfaces to increase vertical illuminance.

Custom decorative pendant lights hang in higher spaces, while in narrower passages, linear coves are tucked into floor and ceiling pockets, with custom wall sconces filling the space in-between.

Project Credits:

Designer: Suzan Tillotson, Erin Dreyfous, Megan Trimarchi
Design architect: Isay Weinfeld
Architect of record: Montroy Anderson DeMarco
Custom fixture designer: Michael Anastassiades
Electrical contractor: Adco Electrical
Electrical engineer: Stantec Consulting Services
Lighting equipment: USA Illumination, Lukas Lighting, Flos, Luminii, Electrix, Moda Light, Interlux, Apure, Lutron
Photography: Fernando Guerra and John Muggenborg

Highly commended: Hyundai Pavilion, 2018 Winter Olympics, South Korea by Atelier Ten
Highly Commended: The Royal Opera House, London, UK by StudioFractal
Commended: Gateway Arch Museum, St. Louis, USA by Tillotson Design Associates
Commended: Annabel’s, London, UK by Isometrix Lighting + Design
Shortlisted: The Lava Center, Hvolsvöllur, Iceland by Liska and Basalt Architects & Gagarín
Shortlisted: Mayflower Theatre, Southampton, UK by 18 Degrees

Retail Project of the Year


T2 Luxury Mall, Melbourne Airport, Australia

Driven by a desire to reimagine the traditional perception of a transient airport terminal, the design was born from ideas of urbanism and authenticity.
The mall takes advantage of its existing double height space to pay homage to Melbourne’s grand arcades, magnificent ceilings and decorative floors.
The vision for lighting was to provide a memorable and captivating impression of Melbourne as a city to visit, or come home to, via an immersive sense of theatre, surprise and rarity.

Lighting is central to creating a warm, luxurious and inviting ambience and encourage a moment of pause along the traveller’s journey.
The concept was to seamlessly integrate the lighting into the fabric of the architecture in keeping with the language of the geometric canopy.
The aim was to enrich the opulence of gold materiality, while highlighting the multi-faceted surfaces of the ceiling theatrically through light and shadow.

The main challenge was seamlessly integrating the lighting into the fabric of the geometric canopy.

Multiple options that would allow light to be woven into the fabric of the intricate and highly complex geometry of the design were explored.
The favoured approach concealed the light fittings from prominent view, allowing the lighting effects to reveal the architectural heroes of the space.
The solution combines functional lighting elements within an expressed, bespoke architectural detail.

We worked closely with the design team to realise a series of 5-metre long gold channels that are integrated into selected seams of the folding ceiling structure. Each channel houses four 31W trimless, high-contrast light fittings.
The light sources, fixed within the channels and mounted at steep angles, were strategically placed at alternate edges of the entrance hall. The result is a unified, central path of illumination.

Adjustable spotlights were mounted above the shop portals and aimed across the canopy in order to highlight the unique, origami-like nature of the design and to enliven the glimmering nature of the gold material.

The combination of this feature lighting and surrounding reflective materials, makes further spectacle of the triangular patterns that are experienced throughout the journey of the mall.

The result of the lighting design was achieved by the incentive to preserve and enhance the aesthetic of the intricate and delicate nature of the architectural vision.

Project Credits:

Electrolight: Alison Loader, senior lighting designer; Jess Perry, director
Architects: NH Architecture
Lighting equipment: iGuzzini, Regianni, IBL, Darkon, Coolon

Highly commended: Stella McCartney, London, UK by PJC Light Studio
Highly commended: Habitat by Honestbee, Singapore by Light Collab
Shortlisted: Nike House of Innovation 000, New York, USA by Tillotson Design Associates
Shortlisted: Grace Han, London, UK by StudioFractal
Shortlisted: Tianjin Vanke Jade Avenue exhibition area, China by Lighting Design Partnership International
Shortlisted: Diagonal Mar, Barcelona, Spain by BMLD

Workplace Project of the Year

in association with Lutron


Nousaku office and factory, Toyama, Japan
Sirius Lighting Office

Nosaku is a 100-year-old traditional casting manufacturer, located in Toyama, Japan. It is behind a hugely popular range of metal gifts.
The new headquarters comprise a factory, an office and various functional spaces where the many visitors can enjoy a factory tour, a craft experience and sightseeing.

The challenge was to match Nousaku’s brand image with factory lighting which eschews standard approaches and reflects the company’s innovative heritage.
The factory area has to combine bright uniformity with high functional lighting for the crafts people with impressive lighting for the visitors.
Large machinery, with a height of up to 10 metres, are lined up in the foundry, with a simple triple rectangle shaped line lighting set afloat as a design motif. At the same time, the lighting achieves enough brightness and uniformity for the artisanal workers.

In two-storey finishing room, natural light enters from a high-sided window during daytime but this changes to a comfortable lighting environment with indirect lighting at night.

For the work place, the emphasis was on high uniformity and the avoidance of shadows.

Project Credits:

Architecture:Archivision Hirotani Studio
Lighting Designer: Hirohito Totsune and Ami Toya, Sirius Lighting Office Inc.
Interior Designer:Koizumi Studio
Sign Designer:Mizuno Zuanshitsu
Landscape Designer: studio terra
Photographers: Tamotsu Kurumata, Toshio Kaneko

Commended: Amorepacific headquarters, Seoul, South Korea by Arup Deutschland
Shortlisted: KPMG, Edinburgh, UK by Atelier Ten
Commended: 1 New Street Square, Deloitte HQ, London, UK by GIA Equation
Commended: Forum St Paul’s, London, UK by Hoare Lea

Heritage Project of the Year

in association with The Society of Light and Lighting


International Presbyterian Church, Ealing, UK
18 Degrees

When the International Presbyterian Church in Ealing, West London, outgrew its existing premises, the site was extended to accommodate its increasing needs. The new extension at the Drayton Green Church offers a space for worship, as well as administrative offices. The new building wraps around the existing Grade-II listed structure, expanding the available space while retaining the link to the original chapel.
Appointed by the architects for the project, Piercy and Company, 18 Degrees was briefed to design the lighting for the key public spaces.
The team approached the project holistically, responding to both the unique form of the building as well as the liturgical nature of the space.
As a place for community and central gathering, it was important for the lighting designers to work in harmony with the architecture to create a welcome space both in the day and after dark.
Upon entering the building, the entrance reduces in scale through a pleated roof form, guiding visitors to the main worship space.
Within the whole building, lighting is delicately integrated into the architectural fabric, featuring only where required so the light fulfils both form and function.

The main worship space comprises a complex folded roof structure which sits over a large open area without additional structural columns.
Daylight is abundant in the space through a number of window apertures, so the artificial lighting system augments this daylight in the drab days of winter and into the evening. Soft uplights around the perimeter of the space accentuate the triangulated geometry of the ceiling and bounces soft, diffused lighting back into the space.

This is supplemented by downlighting integrated into the ceiling structure. This can be set to just illuminate the leader of worship or musicians, or the levels can be increased to light the space when it is used for activities such as crafts or community events.

For those sessions aimed at older people who may require a higher level of light, this adjustment to the lighting levels makes a significant difference.
All of the lighting is controlled via small zones, so that the building users can create a range of lighting emotions through the use of subtle and soft light. The controls are operated from a wall panel at the back of the space so it is easily accessed and engaged with by the users of the church.

Project Credits:

Piercy & Company, Arup

Highly commended: Duke Humfrey’s Library, Oxford, UK by Urban Jungle Energy and Engineering
Highly commended: Kimpton Fitzroy, London, UK by Lighting Design International
Commended: Mosque Azizia, Mecca, Saudi Arabia by Umaya Lighting Design
Commended: Cathedral of our Lady, Antwerp, Belgium by Susanna Antico Lighting Design Studio
Commended: Fayette County Courthouse, Lexington, USA by Illuminationworks
Commended: Gasholders, London, UK by Speirs + Major
Shortlisted: Queen’s Diamond Jubilee Galleries, London, UK by DHA Designs
Shortlisted: The Ross Fountain, Edinburgh, UK by FOTO-MA Lighting Architects

Public Realm and Landscape

in association with vexica


CityLink Sound Tube, Melbourne, Australia

Designed over 20 years ago, the CityLink Sound Tube is recognised as an iconic Melbourne landmark.

Contracted by the client as part of their community engagement activities, the lighting designers were asked to look at ways to enhance and complement the architecture of the CityLink Sound Tube structure using light.

One important criteria was that the lighting needed to have the ability to be colour selectable to provide an element of dynamism and allow it to create a connection with local and international events.

As part of the design process, Electrolight explored opportunities to upgrade the existing lighting scheme, as well as new possibilities to enhance and articulate the unique architectural elements of the CityLink Sound Tube design using the latest in lighting technology.
The lighting designers’ vision was for a lighting scheme that would transforms the Sound Tube at night by highlighting its architectural features.
This was achieved through the use of concealed light fittings that enhanced the repetitive structural language of the architecture, washing light up the vertical face of the girder beams from both sides.

When it came to specifying a luminaire, Electrolight selected a light fitting that was minimal in aperture and provided the essential technical requirements of being colour selectable. And, importantly, it needed to withstand the harsh environmental conditions of the freeway.
The highly controllable colour-selectable RGBW LED units specified can be set to provide an infinite selection of colours and combinations allowing for themed content throughout the year.

The CityLink Sound Tube doubles as a branding device, celebrating major local and international events through light and colour; it’s also a welcome portal, building wonder and excitement as you pass through the tunnel and out into the city beyond.
Whilst the products that were used have the ability to create dynamic effects, the content and scenes are always fixed, ensuring the safety of drivers.
The fact that people are moving when they experience the lighting means that the overall lighting often feels like it’s changing and this creates an immersive experience.

Despite the challenge of tight time constraints, the CityLink Sound Tube was developed and completed in optimum time, with a focus on efficient project management and smooth coordination across client, supplier and electrical contractor.

The subtle and seamlessly integrated lighting design achieved the aspirations of both client and lighting designer and breathes new life into an ageing structure. Close collaboration with the electrical contractor and luminaire supplier was important as much thought was given to maintenance and control. LED strips were cut to lengths that correspond to road lane widths, so minimal disruptions would be caused if replacements were required.
The CityLink corridor is one of Melbourne’s most heavily used roads, carrying about 210,000 vehicles a day in its busiest section.

Project Credits:

Lighting Designers: Jess Perry, director, Electrolight

Highly Commended: The Lava Tunnel, Raufarhólshellir, Iceland by KSLD and EFLA Lighting Design
Highly commended: Taipei 101, Tapei City, Taiwan by Unolai Lighting Design + Associates
Shortlisted: Water Tower, Luxembourg by Licht Kunst Licht
Shortlisted: Meixi Urban Helix, Changsha, China by Office for Visual Interaction
Shortlisted: CF Toronto Eaton Centre Bridge, Toronto, Canada by Speirs + Major
Shortlisted: London Wall Place, London, UK by StudioFractal
Shortlisted: Marsa Plaza, Oman by ÅF Lighting

Daylight Project of the Year

in association with iguzzini


Louvre, Abu Dhabi, UAE
BuroHappold Engineering

Throughout historic Middle Eastern communities, covered open-air marketplaces created vital social centres.
Depending on time of day and year, daylight pierces the interiors, putting dappling light on the people and surfaces within. When it becomes humid or particularly dusty outside, an ethereal experience emerges: the rays of light become visible.

This project was conceived similarly – with daylight as the instigator. The ‘rain of light’ creates an inspired external experience for patrons as they traverse from daylit gallery to daylit gallery. The architecture and art collection here are uniquely tied to their location – at the crossroads of eastern and western civilisations.

Inspired by Arabic architecture, eight layers of abstracted geometric patterning clad the dome, allowing limited sunlight to pass through.
As the sun moves across the sky, the people and spaces below the dome become animated.
Through a full-scale mockup early in design, the team tuned the average dome porosity to create a high contrast between the sunlight and the ambient surround, maximising visibility to the light rays.

BuroHappold further modulated the dome porosity to maximise daylight over the galleries while minimising it over the covered external walkways to improve external thermal comfort for patrons below.

From here, the practice refined the skylight and vertical aperture fenestration to accommodate conservation requirements.
The team created a matrix summing hourly annual contributions of every aperture to every art surface – in several instances, up to seven apertures contribute daylight to a surface.

As placement for the art pieces was finalised in each gallery, the team tuned the shade settings and electric lighting levels in close collaboration with the curatorial staff and the electric lighting designer.

This resulted in well-controlled daylit volumes with large skylight apertures visually connecting visitors to the dome from within.
Vertical apertures boldly illuminate the interstitial spaces, attracting visitors from one space to the next, intuitively generating a navigation route.
Museum environments are intense, commonly causing visual fatigue from scrutinising exhibition details. The interstitial spaces create views to the sea – interspersed moments of pause on the gallery journey. They allow visitors to mentally rejuvenate, sustain engagement, and absorb more in their daily visit.

Project Credits:

Designers who worked on the project:
Chris Coulter, BuroHappold Engineering
Gabe Guilliams, BuroHappold Engineering
Dave Smith, BuroHappold Engineering
Raphael Lafargue, Transsolar KlimaEngineering
Matthias Rammig, Transsolar KlimaEngineering
Matthias Schuler, Transsolar KlimaEngineering

Architects who worked on the project:
Atelier Jean Nouvel

Raphael Lafargue, Transsolar KlimaEngineering
Matthias Rammig, Transsolar KlimaEngineering
Matthias Schuler, Transsolar KlimaEngineering

Highly Commended: Apple Champs Élysées, Paris, France by Foster + Partners
Commended: Royal Academy of Arts masterplan, London, UK by Arup

Integration Project of the Year

in association with IALD


Shanghai Sunac Sales Center, Shanghai, China
Brandston Partnership

Lighting design is inspired from the craft of origami to emphasise the building form and its folding effect.

A linear LED wall grazing system is integrated into the perforated façade to light up the secondary skin. It is placed strategically following the diagonal form to reinforce the concept.

The contrast between the diagonal skin and reflected still image on the water creates a dramatic visual impact to this sales centre.
When entering the entrance lobby, a suspended hanging sculpture is lit by LED downlight from above. The intention is to make it sparkle and create a focal point to the space.

The wall carries the same folding language but with more sophisticated detail design. Two LED linear in-ground lighting systems are used to define the space and also enhance the texture.

One of them washes the wall at the front with 3000K to enhance the form. The other washes the wall from the back with 4000K to make the perforated pattern stand out. With this combination, it creates an interesting visual experience. The folding wall literally guides people to the grand gallery behind it.

The grand gallery is the most challenging space in this project due to its design and various functions within it. It is covered by a curved ceiling with special three dimensional cut-out panels. The same origami concept is applied here.
The design team worked together to develop an integrated ceiling panel system with two self-glowing LED fixtures concealed within one panel. The light leaks from the cut-out to enhance the three dimensional ceiling textures and also to reinforce the curved shape. It also provides some interesting glitters and unifies the space.

A series of hanging sculptures is lit by LED downlights integrated from ceiling feature panels. It brings the visual focus to the eye level so people can concentrate on the display models. It also provides enough task lighting and creates a flowing effect to attract people wondering around inside this gallery.

Both end walls behind the reception desk and the bar counter are lit with vertical illumination. The one behind the reception desk is lit from linear in-ground LED fixtures to form the notch depth. The one behind bar is lit from the LED strip light box to create the silhouette effect for the display. They are used to define the boundary of this grand gallery.

Project Credits:

Brandston Partnership: Xin Tian, Chao Chen, Jinhe Wen, Mingjie Cai, Xue Li, Shiyu Wei

Highly Commended: Helsinki Metro stations, Finland by Valoa design
Commended: AdMo, Washington, USA
Shortlisted: Tianjin Modern City, Tianjin, China by Brandston Partnership
Shortlisted: Double Bay House, Sydney, Australia by FPOV
Shortlisted: Flustret, Sweden by WSP and Irrbloss

Light Art Project of the Year

in association with Lightspace


Halo, London, UK
Kimchi and Chips

Halo creates an image of the sun brought down to earth. It uses the power of 100 suns collected by robotic mirrors into a cloud of water mist.

It transforms everyday materials into a sublime transient experience in a cherished public location in the heart of London.

The work embraces the unpredictability of the weather, creating an ongoing drama of ‘Halo spotting’ for the citizens of London who pass through the location each day.

The chaotic winds of London which historically drove the sailing ships – building the wealth of Somerset House – pull air into the courtyard and mix the mist into ever-unique patterns as it catches the reflected sunlight – each time rendering a unique image of the Halo.

When there are clouds overhead, the mirrors continue to animate steadily whilst the cloud of mist thickens with the increased humidity.

When the artists visited Somerset House, they were struck by the quality and colour of the sunlight in the courtyard as it reflected from the surrounding building, and the way in which the architecture aligned with the sun at midday of British Summer Time.

The isolated volume of natural light and wind, contained within the architecture of the building, presented itself as a canvas for Halo.

Project Credits:

Designer: Kimchi and Chips
Fabricator: Studio Sungshin
London Production: Artists and Engineers
Machine Learning systems: Improbable
Commissioner: Arts Council Korea and Arts Council England Joint Funding
Commissioner: 2017 Gwangju Design Biennale
Presented by Somerset House and the Korean Cultural Centre UK

Highly commended: SPECTRA, California, USA by NEWSUBSTANCE
Commended: The Brilliant Waltz, Parma, Italy I Luca Carapezzi
Commended: The Constellation at the Founder’s Memorial, Abu Dhabi, UAE by dpa lighting consultants
Shortlisted: HOPE, Durham, UK by Aether & Hemera Studio
Shortlisted: Aperture, London, UK by Visual Energy
Shortlisted: 151 North Franklin, Chicago, USA by ESI Design

Low Budget Project of the Year


Bamboo Pavilion, Taichung World Flora Exposition, Taiwan

Bamboo Pavilion is set up as an exhibition hall and built as part of the 2018 Taichung World Flower Exposition in Taiwan, whose themes were green, nature and people.

The architect was inspired by the Central Mountain Range of Taiwan and uses the local green building material, Moso and Makino bamboo, for the main construction.

The perception of the user resembles walking through a bamboo forest. When raising their heads, visitors can look up to the sky above the forest-top. The budget for the lighting equipment was just £10,000 so all the interior and exterior fixtures came with the same housing but different LED light source wattage and various beam spread angles.

The water pool around the pavilion is used as a mirror to create reflections of the architecture and fulfil the nocturnal image of the pavilion.
With sophisticated calculations and extensive planning, this low-cost lighting system achieves the purpose of providing the visitor with an awareness of the beauty of the architecture and its material without having much sense of the light.

Since the World Flora Exposition opened in November 2018, the pavilion has been crowded with visitors every day and night and images of it have become popular posts on social media.

Creating a public space which users are willing to come and stay at night, and then leave with delight is the original intention of this project. And the designer has used light to make it happen.

Project Credits:

Designers: Yi-Chang Chen, Yan-Yu Yang
Lighting design: OuDelight inc.
Architect: ZUO STUDIO
Construction: Champion Construction
Lighting equipment: Athene Technology
Photographers: Shih-Hong Yang, Studio Millspace

Highly commended: The Vessel, Abuko, Gambia by Dark Source
Commended: Moreno Chapel, Texas, US by Essential Light Design Studio
Commended: Ambience, Melbourne, Australia by Ambience Lighting Design
Shortlisted: The Diner, Milan, Italy by Focus Lighting
Shortlisted: Raycap Pavilion, Frankfurt, Germany by Eleftheria Deko Lighting Design
Shortlisted: Il Makiage Pavilion, New York, USA by Light iQ

Emerging Practice

in association with XAL



Imagine a completely dark space, pitch black. Then, light filters through a small aperture, suddenly transforming what we are able to perceive. Oculus Light Studio was named for and is guided by the spirit of this light source — a small part of the space creating a powerful impact.

Starting with the two partners in 2012, the studio is now 11 people strong, with approximately 150 ongoing projects with around 100 new ones added each year, many from repeat clients.

The projects include office interiors, bespoke residences, public parks, mixed-use developments, retail prototypes, museums, restaurants, places of worship, and aquariums.

These are located across the United States, China, India, Middle East and North Africa; with sizes up to many million square feet.
The practice’s work is characterised by the design of thoughtfully modified custom luminaires, careful budget analysis and detailed site coordination, all in full collaboration with the design team.

In-house systems have been developed, from presentation techniques, to fully reviewed basic luminaires, CAD and BIM processes, and specific milestone deliverables. The methodology allows creativity and freedom of individual designers, without burning the midnight oil, which is so common in the design field.

The studio cares about its designers—in addition to market-rate salary and full benefits, alternate Fridays are off for three-day weekends. Staff are able to go home at regular hours. An office culture of openness and celebrating each individual’s strengths means an almost zero turnover rate.
Beyond the office, Oculus’ principals and design staff give back to the community with guest lectures at local universities and schools, and all are members of the IES or IALD.

The systems and processes developed by Oculus Light Studio have enabled them to innovate in design, grow organically with no outside investment, provide a good work-life balance, and keep pace with larger, more established firms in the area, while being profitable.

Shortlisted: Candra Lighting
Shortlisted: MS Lighting
Shortlisted: Studio EG
Shortlisted: The Lighting Design Studio

Lighting Design Practice of the Year

in association with ledLinear



Electrolight is a design studio dedicated to making a difference through light.

Founded in Melbourne in 2004, the practice has grown to include studios in Sydney, San Francisco and a sister studio in London, named 18 Degrees.
Electrolight employs an experienced team who are passionate about light and its ability to enhance and transform.

It draw people from industries as diverse as architecture, engineering, theatre design, interior design, industrial design, visual art, computer modelling and drafting.

It is effectively a collective of designers and artists who respond sensitively to the urban fabric of our cities and regions by combining knowledge and experience with creative design solutions.

The practice’s objective is ‘to help create meaningful places and spaces which foster individuality, build a sense of community and enhance both the built and natural environment’.

Electrolight enjoys a prestigious national and international reputation through its acclaimed project work across the interior, exterior and cultural sectors.

Architectural Luminaire Interior

in association with Osram



Unico is, say the judges, a ‘whole new paradigm’ in luminaires. It offers the designer nothing less than full control over how and where the light is placed within a room, whether from square or circular reflectors or to a truly unsurpassed asymmetric wallwash reflector which delivers a perfect three-to-one ratio.

The micro-faceted reflector technology ensures incomparably precise light distribution and minimum glare.

The downlight lenses for generating either round or angular light projections are available in three different emission characteristics. Additionally available are a rectangular downlight as well as a wallwasher lens.

There is also a highly anti-glare version (UGR <19), which is ideal for use with VDU workstations.

Lighting designers and architects can choose between two mounting options, seven design shapes, nine light insets, three colour temperatures and three control options, all of which can be individually combined, giving over 1.25 quadrillion lighting options.

With just a single luminaire, a lighting designer can programme a wide variety of lighting scenarios. Through the combination of up to nine lenses for various lighting effects, a single Uunico can simultaneously illuminate walls, provide light for basic illumination or accentuate individual zones.

Highly Commended: Arrangements by Michael Anastassiades by Flos
Highly Commended: Linetik by Zumtobel
Commended: Superloop by Delta Light
Commended: DBX-R999 by Orlight

Architectural Luminaire Exterior


Flindt Wall
Louis Poulsen

The new Flindt Wall joins the popular Flindt Bollard to bring expressive illumination and thoughtful design to indoor and outdoor spaces.

Based on the same carved-out concept as the cylindrical Flindt Bollard, the wall-mounted Flindt Wall continues the elegant form language in the shape of a circle.

The multiple effects create an attractive and a subtle-yet-strong luminance as well as a warm, inviting ambience.

The Flindt Wall is designed for applications such as entryways, hallways, stairwells, and other spaces that call for gentle illumination.
Outdoors, it mounts on any wall to light up terraces, yards, driveways and of course walls and buildings themselves.

Commended: Walky by iGuzzini
Commended: Polesano by Delta Light
Shortlisted: 3D LED Flex 100 IP66 by Radiant Architectural Lighting
Shortlisted: Moto-Terraluce by FormaLighting
Shortlisted: Linear One Exterior by Acclaim Lighting

Product Designer of the Year

in association with Lighting Magazine


David Morgan

David Morgan has over 43 years experience as a luminaire designer and has created some iconic lighting products in that time, including the Morph exterior spotlight for Louis Poulsen, the Index system for Kreon and the Burlington desk light for Panasonic.

More recently he has developed a range of discreet and flexible LED fixtures for US company Radiant Architectural Lighting. The luminaires enhance architecture subtly and beautifully, giving designers the tools they need to create evenly illuminated interior and exterior spaces.

Morgan also designed the world’s first sunrise alarm clock with Biobrite and its sister company in the UK, Outside In. In clinical trials, this clock, which gently wakes the user with a gradually increasing light output, was proved to help relieve the symptoms of SAD.

Other clients include Ansell, Designplan and Beta Calco.

Supplier of the Year


Mike Stoane Lighting

Mike Stoane Lighting was founded in 1995, when Mike started making lights on a lathe in his lock-up in Edinburgh.

The company has outgrown the lock-up now, but its lights are still made by the company in Scotland to ensure excellent quality and flexibility.
The judges cited Mike Stoane Lighting for its ‘unstinting support’ of the lighting design community over many decades.

Project Image Credits:

Main image: Product Name: BBX.70 | Product Design: Johan Carlsson (JAC Studios) and Nikolaj Birkelund (Fortheloveoflight)
Image 2: Project Name: Sunset Walk, The Centre: MK | Lighting Design: Lighting Design International | Photography: Andrew Beasley Photography
Image 3: Product Name: Billet
Image 4: Project Name: The Undercroft at the Painted Hall | Lighting Design: Sutton Vane Associates | Photography: James Brittain Photography
Image 5: Project Name: Scottish Parliament Debating Chamber | Lighting Design: KSLD | EFLA Lighting Design | Photography: David Barbour
Image 6: Product Name: Vulcan Shield | Product Design: James Sherman/Foster + Partners and MSL | Photography: Aaron Hargreaves/Foster + Partners

Highly commended: XAL
Shortlisted: Atrium

Publishers’ Lifetime Achievement Award


Eva Jiřičná

Eva Jiřičná is, said the selectors, a ‘truly outstanding architect who puts light at the heart of all her work’.

She creatively fuses her engineering and architecture background with interior design. By using lighting effects and material characteristics, she maximises space in an intriguing and arresting manner.

Her distinguished canon of project credits includes the pioneering interiors for Lloyd’s of London with Richard Rogers, era-defining store designs for Joseph, stunning creations of light and glass in her native Czech Republic, including the National Gallery in Prague, and, more recently, the triumph of the Tiffany Gallery in New York.

Her projects ‘innovate with light and materials in extraordinary ways’.

The late Zaha Hadid was a great admirer, crediting her with single-handedly ‘reinventing the idea of retail’.

Since 1996 she has been the head of the Department of Architecture at the University of Applied Arts in Prague.

40under40 2019

in association with Filix

A new generation of young lighting designers has been named following a global search.

The individuals making up the annual 40under40 – an international programme to identify the most talented and promising individuals working in the lighting design industry – have been named.

The 9 men and 31 women – from 14 different countries, including the Turkey, India, China, Brazil, the US, Germany, UK, Singapore and Sweden.

The designers will receive their trophies at the prestigious Lighting Design Awards ceremony on Thursday 16 May at the Troxy, Commercial Road.

The 2019 selectors are; Glenn Shrum, Parsons School of Design; Asst. Prof. Dr. Karolina Zielinska-Dabkowska, Designs4People and GUT LightLab; Peter Raynham, University College London and Jill Entwistle, editor, Lighting magazine

The official 40under40 2019:

Diana Joels | concepDUAL | Rio de Janeiro
Chenlu Zhang| Gradient Lighting Design | Shanghai
Sarah Fredelund | Studio David Thulstrup |Copenhagen
Imke Wies Van Mil | Henning Larsen | Copenhagen
Maryam Aghajani | jack be nimble | Berlin
Isabel Sternkopf | Licht Kunst Licht |Bonn
Mieke Van Der Velden | Beersnielsen lighting designers | Rotterdam
Mari Gaasemyr Høvik | ECT |Oslo
Natalie Redford | KSLD I EFLA Lighting Design | Edinburgh
Yah Li Toh |Light Collab | Singapore
Julia Hartmann |Lightsphere | Zürich
Sebnem Gemalmaz | Arup | Istanbul
Carolina Florian Valbuena |BuroHappold Engineering | London
Inessa Demidova | Arup | London
Juliet Rennie | Society of Light and Lighting | London
Katia Kolovea |Urban Electric London | London
Robyn Goldstein | Horton Lees Brogden Lighting Design | Boston
Becky Yam | Sean O’Connor Lighting | Los Angeles
Gabriela Grullon | Tillotson Design Associates | New York
Wendy Jiang | Office for Visual Interaction | New York
Katherine Lindsay | Tillotson Design Associates | New York
Amber Moriarty | Kugler Ning Lighting | New York
Natalia Lesniak | Lumen Architecture | New York
Alexandra Pappas-Kalber Sighte Studio | New York
Vasudha Rathi | Horton Lees Brogden Lighting Design | San Francisco
Paula Martinez-Nobles | Fisher Marantz Stone | New York
Christine Hope | Focus Lighting | New York
Noele DeLeon | WeWork | New York
Maggie Spiegel | Essential Light Design Studio | New York
Rebecca Mintz | Lightcraft | New York
Megan Trimarchi | Tillotson Design Associates | New York
Frederik Waneck Borello | ÅF Lighting | Copenhagen
Manav Bhargava | Mandala | New Delhi
Yusuke Hattori | Lighting Planners Associates | Singapore
Mustafa Akkaya | ZKLD Lighting Design | Istanbul
Matt Waugh | Michael Grubb Studio | Bournemouth
Richard Caple | Thorlux | Worcestershire
Thomas Casey Bergeron | Tillotson Design Associates | New York
Michael Lombardi | Sean O’Connor Lighting | Los Angeles
Michael Hemmenway | Fisher Marantz Stone | New York