Ordinary to Extraordinary with a Starburst of Illumination New York City based LeBron James and Maverick Carter’s SpringHill Company underwent a significant change of scenery with relocating from a hip Tribeca speak easy location to a traditional leased space in a corporate office tower. The new leased space offers expansive views and room for the growing business of developing film and television projects but offers a more traditional corporate environment. "It's an extremely vanilla early-'90s skyscraper with zero personality whatsoever," says Sara Agrest, design director for Spectorgroup, which was hired to redesign the new office's interiors. Authenticity was the top-line goal for the client, but the building itself was lacking," as cited in Fast Company, Nate Berg, 8-6-24 Spectorgroup's solution was to embrace the SpringHill Company's multidisciplinary work across the different brands and their product focus. Each brand and focus area were given its own unique section of the office floor, with workspace and decor tailored give each space its own character. According to Agrest, the overall design draws inspiration from the act of changing channels on an old pre-remote control TV set, where analog dials had to be turned to see another channel and there was often static in between. "And then suddenly something comes in clear," Agrest says. She wanted the experience of walking through the office to feel like going from static to focus. "As you sort of switch through the channels, you get these extremely different experiences." - Fast Company, Nate Berg, 8-6-24. Award-winning Brooklyn based architectural lighting design studio, Lighting Workshop, teamed with Spectorgroup to create a unique lighting design to illuminate each unique setting and carry the concept throughout the interior. Black ceilings spread through the halls and common spaces, representing the static between channels. Lighting Workshop's, Braulio Zenteno, Assoc. IALD, DLF created a unique starburst design as a feature for the Townhall Multipurpose Room. They selected Pure Edge's Cirrus Suspension Downlight with a 24VDC power supply in the canopy to create the iconic room feature. Careful placement of 16 different lengths of Cirrus linear fixtures from 77 inches to 144 inches are off set in a 22" radius and incorporated into the ceiling's millwork. Each 3000K luminaire works together to provide direct light in a clean, contemporary style and only 2.5W/Ft. "The interior designer came with the idea of a starburst in the ceiling, and after discussing this we started putting together this lighting element as the main source of general lighting within the room," Brauilo remarked. "We thought of the Cirrus Suspended because of their performance, efficiency and of course, the size of the fixture. Since we had a bunch of exposed ductwork above we tried to use the smaller fixture possible to be able to suspend it as high as possible." "By seamlessly integrating soft, low-level lighting into the millwork details, we crafted a warm and inviting atmosphere that embodies the essence of hospitality, making the space feel truly exceptional." this fixture again in the future." Braulio Zenteno, Assoc. IALD, DLF, LIGHTING WORKSHOP "Since the 'fixture' was made of different lengths, there was a lot of back and forth with us between the architects and the contractors. We had to change the dimensions a couple times to avoid the ductworks and room resizing." - Braulio Zenteno, Lighting Workshop Pure Edge's Cirrus Power Suspension Downlight with a 24VDC Power Supply in the Canopy is a linear LED fixture that offers direct light in a clean, contemporary style. Cirrus is available in various increments from 12" - 420" (35'), with a 100° White Diffused Lens or 60° Clear Frosted Lens, optional Black or White Louver, and a variety of finishes, and Color Temperatures with Warm Dim options. For custom designs and quotes, send drawings to: design@PureEdgeLighting.com Location: The SpringHill Company, 42nd Floor, 17 State Street, New York, NY Lighting System: Pure Edge Cirrus Suspended HO Lighting Designer: Braulio Zenteno & Doug Russell - Lighting Workshop Architect: SpectorGroup Photography: ©Garrett Rowland

Serving Double Duty as a means of wayfinding and center of illumination Lowry Hall, situated on the University of Missouri campus in Columbia, Missouri has a rich history. Originally constructed in 1904, Lowry Hall has undergone many renovations over the years with the latest major renovation/addition completed in 1981. To accommodate its growing student population, the University of Missouri hired International Architects Atelier to lead the revitalization of the first floor, creating a modern and functional space for the university community. IMEG served as the lighting consultant for IAA. The project scope included the renovation of approximately 3,800 square feet of space on the first floor of Lowry Hall, including the existing main entry corridor, open office to the north, and offices, to the south. As all spaces were occupied during construction, the team created a phased approach to the build which was essential to the project’s success to properly manage the relocation and use requirements of current and future occupants. According to the design team at IAA, the existing floor plan layout split the floor into two areas devoted mainly to office space flanking each side of the main entry corridor. This split made the entry devoid of light and an uninviting feel for students. "The design intent was to completely open up the first-floor entrance and transform the closed in office spaces into a student collaboration space for the College of Arts & Sciences." - Jordan Lake, AIA | Senior Associate, IAA The newly renovated facility houses a welcome desk, an open lobby to function as a gathering spot and collaboration hub for students and faculty, and a gallery to display the students’ artwork. The northern half of the floor is devoted to a student lounge with supporting consultation offices and meeting rooms. The southern portion features private offices for the College of Arts & Sciences staff. The design intent of the reception area was to create a wayfinding language for guiding students from the main entry into the open student lounge space. As guests enter the renovated space, they are visually drawn to the reception desk area that features the PureEdge TruCurve 1 luminaire blending seamlessly into the ceiling drywall, becoming part of the architecture. TruCurve is an innovative 24VDC LED system that can be recessed within 5/8” drywall without the need for joist modification. The system is available in 1’ increments up to 40’ before re-feeding and can be fieldcut to any length. TruCurve brings a modern and minimal aesthetic to residential and commercial environments, offering unlimited creativity, and the freedom to design a one-of-a-kind, personalized space. "The ceiling elements reflected the curve ofthe reception desk and the TruCurve fixture was critical in providing an elegant lighting approach that also strengthened the form ofthe desk below.We are happywith the end result and would look to specify this fixture again in the future." - Jordan Lake, AIA | Senior Associate, IAA Lighting System: Pure Edge TruCurve I Lighting Designer: IMEG Architect: International Architects Atelier (IAA) Owner: University of Missouri Photography: ©Michael Robinson Photography

Our collaboration with designer Sasha Bikoff on the reimagined VIP hospitality space has everyone talking. Photography by Brittany Ambridge Styled by Alan Richard Home to the NBA’s New York Knicks, the NHL’s New York Rangers and an endless roster of star-studded events, Madison Square Garden is a major player in New York City’s past, present and future … so perhaps only a native New Yorker could mastermind the iconic venue’s VIP private hospitality space. Enter Sasha Bikoff, a bold-strokes interior designer known for her love of color—a predisposition made eminently clear in every inch of the Benjamin Moore Boardroom at Madison Square Garden. With ceilings, walls and millwork color drenched in three complementary high-gloss reds from Benjamin Moore and earthy brown countertops from Cosentino, the space was created to energize and amplify every occasion. To illuminate those rich tones, Visual Comfort & Co. was pleased to partner with Bikoff on architectural and decorative lighting that achieves a moody warmth and, in the designer’s words, “makes the space twinkle.” Upstairs, a standing-room-only bar gains depth and dimension with Essence series linear and cove lighting from our Architectural Collection, while the downstairs lounge pays homage to the glitz and glamor of the city's Art Deco era. Throughout both spaces, polished nickel finishes—Iva Medium Wrapped Sconces and Esfera Medium Sconces—are balanced by the sleek punch of graphic pieces like the Doppia Accent Rechargeable Table Lamps. Read on for our conversation with Visual Comfort Senior Lighting Designer Aldo Trejo, who helped bring Bikoff’s vision to life. On working to designer Sasha Bikoff's creative brief: "We always work with the colors and palettes the designers specify, and once we knew everything was going to be painted in variations of the same shade, color temperature became really important for dimension. We went all in with 2700K to give the space a rich, golden glow, then added neon-inspired LED linear lighting to create an atmosphere that's bold, immersive and charged with attitude. Step inside and you're not just entering a space—you're stepping into a story." On playing to strengths: “We considered how much attention to bring to the fixtures, streamlining their impact by selecting the same finish, polished nickel, for the Shanti Large Flush Mount and Grande Double Pendant, the Rousseau Small Asymmetric Pendant and the Iva Medium Wrapped Sconces. With lower ceilings and no natural light, we knew that rather than placing dots of light, we needed to showcase linear channels with vertical and horizontal cove lighting, which creates a contemporary feeling. Late in the install, we decided to add architectural lighting around the base of the booths in the lounge and it proved to be the perfect finishing touch, adding a soft neon glow that highlights the custom carpet.” On maximizing resources: “Sasha was reimagining the existing furniture profiles in the space rather than specifying new ones. In a way, guiding considerations sparked creativity and made us resourceful. Everything has a purpose, and I kept thinking of the concept of renaissance as we worked, not only because of the rich red tones but because we were bringing the past into the present and making it all work.”

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