We look at three workplace projects shortlisted in this year’s Lighting Design Awards: two show how lighting has transformed tired reception areas, while the third uses lighting to set the tone of the space. Each shows the trend to a linear, integrated approach where the lighting is as much a graphic element as illumination

Project 1:
Spectrum Building, Glasgow
Lighting design: KSLD
Architect: Michael Laird Architects

The aim was to improve the visibility and appeal of an existing commercial rental property and make it more saleable to prospective occupants. The budget was very tight and the lighting brief included the entrance, entrance lobby, first-floor lobby areas and main staircase, plus the exterior facade, improving the on-street presence. 'The concept throughout was minimal, linear, clean and bright,' says Claire Hope of KSLD.

A simple vertical array of 5000K LED light boxes on the facade, nicknamed the Barcode, has the capability for basic animation - a random, slow-fade sequence to give a gentle differentiation between panels - creating a bold statement at street level. Created by Mike Stoane Lighting, they kick in during the early hours of the evening when footfall near to the building is high, 'a touch of flair to draw the attention of prospective clients,' says Hope. 'The subtle animated ripple of the light boxes makes the building stand out from its neighbours in a very understated way.'

This linear theme is picked up in the interior, first with the ceiling-recessed fluorescent luminaires above the reception desk (Prolicht's White Line fittings). 'One of the reasons we chose them was because the illumination continues behind the integrated spotlights,' says Hope. 'Most other similar products had separate units for the spotlights, creating a dark patch and limiting the choice for their location.'

The theme continues with fluorescent linear fittings with 90-degree bends (Concord Continuum trimless profile) framing each of the lift lobby areas, emphasising the form of the space. Elsewhere trimless versions of Delta Light's Maestro and Grid luminaires were used for stair and circulation lighting. 'Trimless fittings and indirect lighting were used throughout to keep the architecture free and open,' says Hope.

Project 2:
50 George Street, London W1
Lighting design: Light + Design Associates
Architect: Allies and Morrison

The brief was to create a clean, open reception space that could subtly draw attention to the light and airy reception space beyond the tunnel-like street entrance. 'The scheme had to deliver minimal visible luminaires so it did not detract from the clean lines and simple interiors proposed by the architect,' says LD+A's Nathan Brookes. 'We wanted to maximise street views by washing the rear feature wall in light, and unifying the single and double-height reception spaces with a lit effect that draws you through the space as a whole.'

As visitors enter the reception they are greeted by 3.5m-tall milky white glass panels backlit with daylight and LED strips to provide homogeneous lighting throughout the day and into the night. Visitors are then guided through the reception with a subtle, low-level LED wash of light along the sides of the floor and backlit floating ceiling rafts.

A main challenge was ensuring that the milky glass walls were evenly lit day and night. As well as backlighting the panels, luminaires also had to provide a soft wash of light on to the floor and ceiling. Specific mounting locations for any light fittings were very limited, and several LED strips and fittings were trialled to check that there was a good trade-off between light output and distribution. The fitting selected was the LED Linear VarioLED ATON Plus, supplied by Architainment Lighting.

The minimal space behind the wall cladding had to incorporate direct lighting details into the side walls to achieve floor and ceiling illumination. 'We wanted to produce an even homogeneous light across the glass with no lamp imaging,' says Brooke. 'Luminaire offsets and angles had to be carefully considered to ensure there were no visible luminaire reflections and provide an even-lit effect across the floor and ceiling.'

The focus of the main reception is the large LED-backlit timber reception desk and, behind this, vibrant orange back and side walls that feature a seamless line of light wrapping around the corner wall. Only energy efficient sources - LED and fluorescent - were used, achieving an overall luminaire efficacy of 67lm/W.

'The project involved a fair amount of lateral thinking to overcome problems presented by the immoveable existing services and interfacing with new glazing systems,' says Brookes.

Project 3:
IBM Forum, Southbank, London
Lighting design: AECOM Lighting
Architect: HOK and Coast

The IBM Forum London is a 1,740sq m business and conferencing facility for clients and partners, comprising a conference suite with nine meeting rooms around the building perimeter, with river views. The Innovation Centre, arranged around a central courtyard, is a showcase area featuring a changing exhibition and audio-visual displays (interactive demonstration units, static graphic and animated multimedia walls) depicting the computer company's past and present.

The space is lit entirely with LED sources, including display lighting, joinery skirt lighting, downlights and concealed cove lighting (XAL, Erco, Soltech Systems, Architectural FX, Radiant and Light Projects). At the centre of the concept are luminous apertures, backlit Stretch Ceilings formed into continuous curved lines and oversized circular shapes (echoing IBM's Smarter Planet initiative logo).

Developed in collaboration with architecture practice HOK, German Designer Coast and Edward Ray Lighting, the apertures are backlit by a modular array of low-powered LED boards with a combination of cool white and blue LEDs.

'The pattern and size of the details were aesthetically and technically optimised to achieve the desired visual language, lighting levels, and define focal points and display areas,' says AECOM's Xavier Fulbright. The blue lighting provides a sense of theatre, creating a more dramatic context for the visitor, and is also a visual link to IBM's brand identity and history.

Various LED solutions were trialled by the lighting team, which eventually opted for the LED board format as it provided the necessary homogeneous lighting appearance in a shallow-depth installation (60mm). The boards were designed to have a close-pitch spacing, which ensures no LED imaging and a uniform lit appearance on the fabric.

All the LEDs are run at low forward currents to achieve optimum efficacy and long life. They have a colour rendering of Ra84-plus and a colour consistency within a three-step MacAdam ellipse. Each LED only provides 16.5lm, but the additive effect of all the LEDs allows the lighting scenes to operate on set dimmed levels for energy savings.

This article was first published in fx Magazine.