Richard Rogers' new office features tunable white light

The new office of ‘starchitect’ Richard Rogers features innovative ‘tunable’ white LED lighting whose colour temperature varies throughout the day.

When Rogers Stirk Harbour + Partners' quit its longtime home in Hammersmith, west London, for the fourteenth floor of the Cheesegrater in the City of London, it also swopped standard office lighting for dynamic, tunable white LED lighting whose colour temperature varies according to a pre-determined profile corresponding approximately to the behaviour of sunlight moderated by atmosphere. 

Intensity

The system, designed by top lighting design practice Speirs + Major, responds to daylight intensity – sensed at the perimeter of the floor plate – reducing output of artificial light where daylight allows. 

In practice this means that there’s a gradual increase in intensity from perimeter to centre of footplate. 

 

The installation is unique in the Cheesegrater – officially called the Leadenhall Building – by being the only floor to have exposed services in an open ceiling and the lighting provides a key to creating a greater sense of depth to the occupants . The lighting  is visually the single strongest statement in the space.

 

The lighting project at Roger Stirk Harbour was delivered in just nine weeks. A new printed circuit board was designed, tested and manufactured for the Iris luminaire. The dish was conceived using a wooden former and presented to the architect for approval prior to tooling being signed off. The circuit board was manufactured in house at the RIDI factory in Jungingnen in Germany.

The luminaire design features a very shallow white dish with a translucent circular ring at its centre incorporating the LED components that were designed and manufactured in house. 

Track

To facilitate ease of installation and maintenance a large proportion are track mounted onto Dali data bus track which is in turn mounted to specially designed colour coded trunking. 

In addition, there are recessed versions mounted into perforated metal ceiling panels so that the same visual language is employed throughout the spaces. 

They incorporate the emergency lighting in a colour-coded centre panel.

The luminaires mimic the iris of a human eye and the inherent 'lightness' of the translucent housing was a key decider for the architects. 

 

Richard Rogers with the Mantiss office light his practice designed for Reggiani in 2006

 

The very low profile was important to accentuate the depth to the space and not create 'clutter' to the open plan space.

The lighting levels and colour temperature are controlled by a system from Helvar.

Designers who worked on the project included Iain Ruxton of Speirs + Major (lighting design) and Jeff Shaw of Arup Lighting. Electrical design was by Shane Nolan of Arup. 

 

 

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