International Lighting Magazine   2008/1   June


GRID STIFLES
IMAGINATION

MARTIN
LUPTON (BDP)
Talking trends in Lighting...
EDITORIAL
    With pride I would like to introduce you to the very first edition of Luminous,
    a new magazine published...
20




24                                                                           28




12                             ...
Massimiliano Negri




4 DIALOGUE
LEGNANO, ITALY

PIAzzA SAN MAGNO
Talking with Jacopo Acciaro


“The inspiration for lighting the Piazza San Magno,” lighti...
William Landell Mills: How does lighting get articulated in
                                                              ...
those things are so easy to plug into a DVD player and          WLM: The gherkin comes to mind
play adverts on. There is l...
LAS PALMAS– ROTTERDAM, THE NETHERLANDS

CREATING
A LANDMARk
Interview by Jonathan Ellis



An interview with Marten Wassma...
9
    Jannes Linders
Jannes Linders




                 “Another possibility we were able to incorporate was a         on doing things less ba...
11
     Jannes Linders
PUB - DEPARTMENT STORE,
                   STOCkHOLM, SWEDEN
                   The project was to re-design PUB, the olde...
Sören Håkanlind
STADIUM XXL, GOTHENBURG, SWEDEN                                                      Client
              ...
Client
                                                                                                                   ...
Carlos Montufar
HSH NORDBANk PRIvATE BANkING,                                                       Client
HAMBURG, GERMAN...
TOUR EXALTIS, PARIS LA DéFENSE, FRANCE
                                                                                   ...
Luis Guillermo Gomez Duran; Paulina Alamo
NATIONAL TOURISM BOULEvARD,                                                     ...
GRID
    STIFLES IMAGINATION?
18 DOSSIER
Gong Zhang, Huge Shape Vision Art studio
The Grid is like a skeleton, underlying the structure, composing and       ways o...
THE SUzHOU SCIENCE AND CULTURE ART CENTER, CHINA



A BRILLIANT SkIN
Interview by Diana Y. Lu



Few cities have stood the...
Client
Suzhou Science and Culture Art Center

Architect
Paul Andreu; Paul Andreu architect; Paris, France
(Concept design)...
22 DOSSIER
23
     Gong Zhang, Huge Shape Vision Art studio
Wade Zimmerman
THE LUXEMBOURG PHILHARMONIE:



JEWEL OF LIGHT
Written by Isabelle Arnaud




24
stage of the chamber music hall
                                                             dressing room for solists



...
Wade Zimmerman




                                                                                                       ...
27
     Nicolas Borel
Rob Hoekstra




28 DOSSIER
OFFICE COMPLEX WESTRAvEN – UTRECHT, THE NETHERLANDS:



TWO YEARS ON
Interview by Jonathan Ellis




                     ...
Korff en Van Mierlo




 30 DOSSIER
Rob Hoekstra                         Korff en van Mierlo
“Of course, artificial lighting is also essential. We were able to combine the
                                           ...
THE GRID: A TOOL FOR DESIGN
By Jean-Claude Bignon Architect, Professor Ecole Nationale Supérieure d’Architecture de Nancy
...
UMR CNRS MAP - ENSAL
a point of view which is simply technical, or one which                                    Location
 ...
IMAGINATIvE
CONCEPTS
Philips Research



Imagination is at its best when it knows no restrictions. When    Take retail, fo...
3 x3Spot LED surface mounted
                                 x Spot LED surface mounted
                             3 x3...
SHOWROOM




36 FEEDBACK
HOTEL DU LAC
Lighting applications are becoming increasingly specialised, clearly focused
on responding to specific reques...
Philippe Soetaert, CNSMD de Lyon




38 FEEDBACK
concept corner




RECESSED LIGHTING                                by Natacha Lameyre, Christian Ferouelle




          ...
200
    Asymmetrical beam Philips LEDflood recessed
    Wide beam Philips LEDline² recessed




                          ...
2100




                                                                        180




Underlining the arch with two lin...
SEEING IS BELIEvING
              By Matthew Cobham, Bayu ade Pramudia



              Today’s lighting designer has a wi...
Albert Yonathans   Riva Latifah


                   Refleksi di bebatuan




Dunt




Doni Afriyanto


Riva Latifah




 ...
Doni Afriyanto




              Handy Pranoto lampu


              Fajar Cahyaardi




44 FEEDBACK
Aditya Bayu   Habibi MP




                Alfrizal




                45
BOOkS
                                    Ingo Maurer: Designing with Light                                Light, Luz, Lum...
Luminous issue1 june_2008
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Luminous issue1 june_2008

  1. 1. International Lighting Magazine 2008/1 June GRID STIFLES IMAGINATION MARTIN LUPTON (BDP) Talking trends in Lighting design LAS PALMAS Creating a landmark
  2. 2. EDITORIAL With pride I would like to introduce you to the very first edition of Luminous, a new magazine published by Philips Lighting, concentrating on the world of architectural lighting. The world of lighting – whether you participate in that world as architect, lighting designer, or manufacturer – is about to move into a new era. We are together facing enormous and exciting challenges and opportunities. Lighting is no longer simply a means of illumination; instead, it is used to enrich people’s lives, to brighten the mood, enhance emotions, increase productivity, give a sense of pride and improve safety. Custom-built and fit-for-use are no longer the exceptions but the rule. And so too, increasingly, is stricter legislation and ever-higher expectations, not least in the field of environmental sustainability and responsibility. If we are to successfully grasp the opportunities facing us, we cannot continue to work from our own perspective. Co-creation is, I believe, the key to our success. It will help to fuel the dialogue between architects and lighting designers and the technical resources of a company with the experience of Philips so that together we can turn imagination into tangible new concepts. With this idea of co-creation, at the core of Luminous, we are hoping to create a platform for a mutually beneficial exchange of ideas. If we are able to inspire each other – architects and lighting designers inspiring us with new visions, new concepts, and Philips inspiring you with new technologies and market-driven prototypes – we can lay the foundations for creating a world that satisfies both the changing needs of society in general and our own efforts to create a business that is truly sustainable, improving people’s lives with lighting. The examples included in this first edition of Luminous demonstrate how creative vision and technical expertise can together achieve something which is more than the sum of its parts. Something that is, quite simply, creating Delight with Lighting. Rudy Provoost CEO Philips Lighting colofon published by | Philips Lighting BV – Mathildelaan 1, Eindhoven. 5611 BD, The Netherlands – www.lighting.philips.com editor in chief | Vincent Laganier editorial department/Marketing Communications | Marga Janse, Jos van Gemert steering committee | Anissa Abbou, Afke Bokma, Peter Halmans, Dorien van de Weele copywriting | Jonathan Ellis translations | Philips Translation Services graphic design concept | Philips Design dtp | Relate4u printing | Print Competence Center more info | Marga.Janse@philips.com T: +31 (0)40 27 57956 ISSN nr | 1876-2972 12NC | 3222 635 52461 2
  3. 3. 20 24 28 12 6 DIALOGUE DOSSIER FEEDBACK Challenges in Lighting design Architectural Grid Development and Trends in Lighting LIGHT SOURCE 4 INTRODUCTION 18 BLUE SkY THINkING 34 Piazza San Magno, Grid stifles imagination? Imaginative ideas Legnano, Italy PROJECT REPORT 20 SHOWROOM 36 PLATFORM 6 Science and Culture Art Hotel du LAC, Eindhoven, Martin Lupton, London, Center, Suzhou, China The Netherlands United Kingdom PROJECT REPORT 24 RECESSED LIGHTING 38 SUSTAINABILITY 8 Westraven Office Complex, Recessed lighting, Las Palmas building, Utrecht, The Netherlands Lyon, France Rotterdam, The Netherlands PROJECT REPORT 28 GALLERY 42 SNAPSHOT 12 The Luxembourg Seeing is believing, PUB Department Store Philharmonie, Luxembourg Indonesia and Asia Pacific Stadium XXL Bugatti Showroom PERCEPTIONS 32 SPOTLIGHT 46 HSH Nordbank The Grid: A tool for design Agenda, Books, Websites Tour Exaltis National Tourism Blvd. 3
  4. 4. Massimiliano Negri 4 DIALOGUE
  5. 5. LEGNANO, ITALY PIAzzA SAN MAGNO Talking with Jacopo Acciaro “The inspiration for lighting the Piazza San Magno,” lighting designer Jacopo Acciaro told Luminous, “was born in living spaces, along the streets, even standing alone in special places. For me it was critical to capture and exploit with light all the different architectures, paths and open spaces that make the square so unique. My intent was to express, through the lighting project, all the architectural elements present in the area, thus creating a lively and pleasant feeling containing clear-rich shadow and different shades of light.” “For me, one of the factors that has helped create a link between the various surfaces illuminated was the decision to use different colour temperatures. The lighting has been carried out with a colour temperature of 3000K (pot, surfaces of buildings), while for some architectural accents, the choice was a cold temperature of 5500K. We believe that this choice is particularly appreciated because as one’s eyes travel through space, there are common reference points with warnings through colour temperature.” “In the Basilica site, the lighting in the elevated walking area with fountains, benches and vegetation is delivered by a system of little LED luminaires, placed under the wooden benches. The white light which has a colour temperature around 5000K (cold light) is arranged from the top to the bottom like a blade of light, making sure it provides enough illumination to the path itself (around 100 lux).” “There is also scenographic lighting for the trees which will be put to use whenever a special occasion takes place. This lighting will be provided by two recessed luminaries with metal halide lamp bulbs 35W 3000K arranged in the flower pots.” “For the buildings located all around the square, the lighting is provided by non- symmetrical luminaries which contain metal halide lamps bulbs 70/150W which are placed under the water spots and which deliver precise and controlled flowing light.” light Client City of Legnano, Italy Architect Ermanno Ranzani Source Lighting Design Jacopo Acciaro, Massimiliano Morace, Voltaire S.A.S, Milan, Italy Light sources 3000K: pot, surfaces of buildings Philips MASTERColour CDM 5000K: benches and architectural accents Philips SSL customized solutions, LED 0.4 W 4 lm 5
  6. 6. William Landell Mills: How does lighting get articulated in a project? We try to base everything we do on a strong conceptual foundation. I believe in going through the concept process to arrive at a solution rather than just instantly walking in and saying right this is the best thing to do in this space. It is not about generating a list of kit and locations to put it in; it’s about generating a reason for the kit being in a certain place and doing a certain thing. I think if you look at the work we do, our foundation, you will see that we’re trying to make projects, excuse the cliché: people centred. We want to make the lighting about the people in the space. It is not just about glorification of architecture or light and design; it’s about creating space for people or a place for people to be in. WLM: Why is that people centred? It reflects my personal philosophy on lighting which I developed when I very first got into design. I don’t think there is one correct approach to lighting design. The biological, the physical, the science, the art, the product, the architectural – these different approaches can all generate a really good lighting solution. But if you have people contributing from different backgrounds then you’re going to get an even better solution. WLM: How did your background influence your work? I think what happens is your background – mine is academic and science and engineering – may influence your approach. But ultimately it’s the passion for lighting and the love of lighting design that connects everything and becomes the common language. Then your training becomes a greater influence than the tools you actually use on the job. Jasmine van der Pol: Do you generally start with a team? This really depends on what we are asked to do. If we’re MARTIN commissioned to do a lighting project and we are asked to do a presentational pitch, we’ll drag in four or five people from our group and we’ll all sit round the table and throw lots of ideas around. We always try to base LUPTON our pitch on a concept or a series of concepts, just to demonstrate to people how we work. If we are invited to join we want to sit down with the design team and go through the process with them as well. In that way we find we can work with the architect and inform each Lighting Designer BDP, London, United Kingdom other’s thinking and sometimes the lighting concept makes the space work better and the architecture changes to facilitate that. Martin Lupton is one of the industry’s leading lighting designers, eagerly sought after for projects and seminars. William Landell WLM: What do you think are the lighting trends? I think one of the big trends I see with lighting at the Mills and Jasmine van der Pol join him for a wide-ranging moment is media facades. You’re essentially turning facades into TV screens by putting lots of LED pixels discussion of his profession, his views and his ideas. on them. You are beginning to see them everywhere. It’s a technology-driven solution. The trouble is that 6 DIALOGUE
  7. 7. those things are so easy to plug into a DVD player and WLM: The gherkin comes to mind play adverts on. There is little intellectual content or I disagree that this is just decoration. justification for having them; the majority will just be advertising panels. It’s like that at the moment: if you go In my opinion Foster & Partners are one architectural to a public square in Japan you’ll have three or four. Every practise who use daylight well; a lot of their work revolves square is like Piccadilly Circus! around daylight. But there are lots of other architects building lots of things that don’t acknowledge daylight JvdP: Do you think that is the way of the future or do as a light source. Our buildings are much denser, the you think it’s maybe too much? Surely the planners have space more deeply planned. We’re trying to pack more something to say about it. and more people into less space in the city so space is They do have something to say about it yes. I just think becoming a premium. But for me, the true sustainable it is happening so quickly at the moment because the lighting is daylight. And that’s the connection we’ve got to technology is new and there is still a novelty value to rediscover. it. Actually we’ve got two schemes with that sort of technology happening at the moment. What tends to 7th January 2008 happen is that you have a few, and then everybody starts Extract from the Light and Emotions Research on going using them until they are everywhere. by Synovate Qualitative Research and Philips Lighting WLM: Do you think they can enhance or is it potentially doom-laden? I think it could potentially be doom laden, unless somebody realises that we could end up with City Squares with screens everywhere. You could end up with everybody living in Vegas, simply because the technology has become readily available and affordable. Well I would hope that actually we would have... WLM: Better taste? Yes, I would hope so. But we’re such a media driven society now. WLM: How does that fit with ecology? What’s happening in those terms? Well that’s a very bright area for what we do. I really think that the sustainability issue is a real opportunity for the lighting designer’s profession. I think we need to be more socially responsible about what we do. Every time I put a dot on a drawing it’s a bit of energy used on somebody else’s behalf. I’m ultimately responsible for the energy they use and it is something we have to address seriously. I see that as a key to promoting professional lighting and design. People have the skills and the qualifications and the moral responsibility to apply lighting sensitively and in the right context. But they also have the responsibility of minimising energy consumption and deciding responsibly not to light certain things. I think sustainability is also going to facilitate our reconnection to daylight. We are already seeing this. Over the last 30 years or so, architects seem to have lost the skill of daylight design. They don’t design buildings to be day lit any more. Windows aren’t considered as a means of getting light into buildings; they consider them as decoration on the side of the building. How can I do my window layout, how is it going to make my façade look? It is all about decoration... PLATFORM 7
  8. 8. LAS PALMAS– ROTTERDAM, THE NETHERLANDS CREATING A LANDMARk Interview by Jonathan Ellis An interview with Marten Wassmann about the challenges he faced when redeveloping the Las Palmas building in Rotterdam. As you approach the redeveloped Las Palmas building at night, you are immediately struck by the ring of light – created by a chain of LED lights measuring 160 metres – which emphasises a modern structure on top of the original building that dates from the fifties. “Las Palmas is a symbol to many people in Rotterdam”, explained Marten Wassmann of Benthem Crouwel Architects.” It was built in the fifties as the work-place for the Holland America Line and we wanted it to become a landmark for the Kop van Zuid development. The original plans included the possibility of erecting two new storeys on top of the building, but interventions during the construction stage – such as the inclusion of light domes - had made full use of the roof impossible. We had several ideas – a restaurant, penthouses, offices – but when OVG purchased the building from Rotterdam council they were so impressed with the design that they decided to use the penthouse for their head-office. The building is known now as Las Palmas Penthouse – and ships passing see the name spelt out on the side of the building in Morse code illuminated by Philips. 8 DIALOGUE
  9. 9. 9 Jannes Linders
  10. 10. Jannes Linders “Another possibility we were able to incorporate was a on doing things less badly rather than on actually parking deck under the penthouse. The car fleet of OVG improving them. consists of 14 Mini Coopers, and these now reach the parking deck in a converted goods lift from the cellar. “In Las Palmas we obviously integrated as many energy- I understand OVG is now planning to allow visitors to saving features as possible – movement detectors to turn use the lift and deck. During the ascent – which takes lights on and off, for example – but more importantly, a minute and a half – they will be shown a film about we made very conscious decisions. We used light where OVG projects. it was necessary. Was the ring of lights around the penthouse necessary? I believe it was. It is a gesture “In May we are starting further redevelopment of the towards the building’s past and to its future. Even in times roof. We are turning it into a roof-top garden. The of sustainability, our cities need landmarks.” buildings surrounding Las Palmas will be able to look down on a patch of green. We initially had the idea of creating a city camping site on the roof, but that was considered too radical by the city council. We are now laying grass on the roof instead. This has not only an aesthetic role, but also a practical one. The grass layer Client will provide better insulation to the building and will also OVG Projectontwikkeling retain moisture before it enters the waste system. “ Architect Benthem en Crouwel; Is this part of an effort to introduce sustainability into Marten Wassman the building? Lighting solutions “I wish I knew what the word meant,” replied Marten Wibeke Polle, Philips Netherlands Wassman. “If I asked you how your relationship was Installer and you replied ‘sustainable’, that wouldn’t be very Inteco / C2N / ETB VOS positive, would it? Obviously we must all do something Light sources to contribute to the concept of sustainability. After all, Philips TL5 and LED building and construction is responsible for 50% of waste Luminaires in the world. But I think we all too often concentrate Philips Ledline2, Origami, Fugato, TBS and Inteco 10 DIALOGUE
  11. 11. 11 Jannes Linders
  12. 12. PUB - DEPARTMENT STORE, STOCkHOLM, SWEDEN The project was to re-design PUB, the oldest department store in Sweden. Formerly a rather anonymous city galleria, PUB is changing into a modern Client Atrium Ljungberg department store focused on fashion for a young, urban, internationally Stockholm, Sweden orientated target group. Lighting plays a significant role in the project, Architect balancing the historical roots with a modern, constantly changing content. BAU Arkitektur, Hans Birkholz, Ulrika Lundgren, Stockholm, Sweden The lighting design concept for the cupola aimed to emphasize its role as a Lighting Design natural centre point of the department store. The architectural design allowed Kai Piippo, Clara Fraenkel, Paul Ehlert Ljusarkitektur, Stockholm, Sweden for an interesting play with light, shape and movement. By changing the colours, the intensities and the speed of the dynamics of the 500 RGB LED Light sources Inside the circular niches created in the ceiling: light fittings that are hidden in the construction, the cupola transforms into a Philips iColor Cove, ColorBlast 12 Powercore, living element that breathes light. linear high intensity LED luminaire RGB Mikael Silkeberg 12 DIALOGUE
  13. 13. Sören Håkanlind STADIUM XXL, GOTHENBURG, SWEDEN Client Stadium XXL The new Stadium XXL is more than a store: it contains not only an exceptional Architect Josefine Larsson and Tomas Eriksson TEA, range of sports products and brands, but also a sports café, a cycling station, Stockholm, Sweden putting green and a runner’s lab. The architect wanted comfortable retail lighting Lighting solutions that would help create an interesting shopping environment and so a special Lars Gärdebäck, Fagerhult Retail fixture was developed and designed according to the demands of the customer. Lighting controls New techniques and fixtures with an appropriate design and light output were DALI, DSI system used to create a combination of well lit and tuned down retail areas. Accent lighting for display Fixed on aluminium rail: Marathon, wide, medium and narrow spotlights Fagerhult, Philips MASTERColour 13
  14. 14. Client Brinkmann Group Interior architecture Paul Gielissen Gielissen Interiors & Exhibitions, Netherlands and Germany Architect BUGATTI SHOWROOM, Jeroen van Alphen DüSSELDORF, GERMANY Lighting solutions Nicolò Brambilla, Marike de Kruiff, Philips Lighting The assignment was to turn factory Hall 29 into a showroom for fashion house Light sources Brinkman Gruppe where retailers could buy in their new collections while still General lighting for people retaining the building’s original industrial atmosphere. The enormous space Fixed on the aluminium ceiling cladding: Philips MINI300, surface mounted. CDM- TD breaths peace and openness. The architecture is largely implemented in light colours and much of the original metal has been left exposed. The floor, high Customers’ room Recessed in the lower ceiling: panels and furniture, all made of the same materials, provide a contrast to the Philips Fugato functional downlight and Fugato light colours. compact adjustable, projector downlight, 36° beam with Philips MASTERColour CDM-T The lighting design concentrates on bright white light and results in a crisp Accent lighting for display Fixed on aluminium rail: colour reproduction, providing retailers with an accurate view of what they are Musa, track mounted projector, 12° beam, Philips buying in. MASTERColour CDM-T Gielissen Interiors & Exhibitions 14 DIALOGUE
  15. 15. Carlos Montufar HSH NORDBANk PRIvATE BANkING, Client HAMBURG, GERMANY HSH Nordbank private Banking Architect Nugent Heitmann Montufar HSH Nordbank wanted to offer a special ambiance for their customers with NHM architects, Hamburg, Germany the possibility of changing the atmosphere with lighting to reflect the events Planner taking place in the building. The space is also used for cultural events, such as Pinck Ingenieure, Hamburg piano recitals and literature readings. Lighting Design Carlos Montufar, NHM architects During office hours, the lighting system is used to create a dynamic ambiance Lighting solutions and stress the time of the day for clients and staff. Cove Lighting is used in Myla Störtebek, Philips Germany an AWB, Amber, White, Blue programming mode. RGB will only be used Light sources for events. The highlight of the interior design is the High Grade Steel Stairs; Cove lighting although it is possible to change the colour of this stairway, HSH Nordbank Inside the niche created in the architecture: Philips Cove lighting AWB, low power LEDs has decided to keep it blue in the colour of the company. High Grade Steel Stair lighting Behind the translucent glass: Philips LEDline2, Philips High Power LED Controls: Philips ColourChaser DMX and Colour Wheel 15
  16. 16. TOUR EXALTIS, PARIS LA DéFENSE, FRANCE Client This office building of fifteen levels and 23 000 m2 appears to be a “small building” La Mondiale compared to the surrounding skyscrapers. Its daring architecture features a clear Architect green glass façade, which gives the impression of a luminous transparent prism. Bruno Willerval, Bridot-Willerval, France Bernardo Fort-Brescia, Arquitectonica, United States of America At night the building’s ceilings are a constellation of small lighting points, created by the interior lighting of the open-plan offices. Breaking with traditional grid of Technical Research Department COTEBA, SFICA embedded fluorescent square 600x600mm, the architects chose to fix round metal perforated cases in the ceiling with circulars downlights. These tailor Light sources Office lighting made luminaires (210 mm diameter) were created with decorative glass using Philips tailor made luminaires, circular downlight fluorescent compact. 18 and 26 Watt Marjolaine Rouzeau 16 DIALOGUE
  17. 17. Luis Guillermo Gomez Duran; Paulina Alamo NATIONAL TOURISM BOULEvARD, Client SANTIAGO, CHILE Inmobiliaria Pullman Bus Costa Central S.A. Architect Felipe Banda M. & Arquitectos Asociados Santiago’s most important bus station is the Central District Station. Jotabeche Street has been transformed into a 120 meters long and 19 meters wide Lighting solutions Paulina Alamo, Philips Chile boulevard. The station’s 35 meter tower has become a new landmark in the city. This is especially due to its dynamic lighting system which represents the Light sources Tower lighting motion of traveling. Fixed on the steel beams Philips LEDline2 RGB At night, this space turns into an amazing exhibition of life, and it has become Building lighting something of which Santiago’s inhabitants are very proud. Fixed on the steel beams Philips ConTempo RVP350, symmetric and asymmetric with Philips MASTERColour Lighting controls Philips ColourChaser DMX144 17
  18. 18. GRID STIFLES IMAGINATION? 18 DOSSIER
  19. 19. Gong Zhang, Huge Shape Vision Art studio The Grid is like a skeleton, underlying the structure, composing and ways of employing ceiling luminaire arrangements to create a sequencing the elements. The Grid is one of the oldest mediums proper ambience: Westraven in Netherlands and Philarmonique of construction. in Luxembourg. From urban planning to architecture, from the ancient Greeks to the In lighting, the Grid provides a set of points in a two dimensional American city plans it is the background design for organizing the plane, at which the lighting calculations will be carried out: space. Piet Mondrian in art or Frank Lloyd Wright in architecture illuminance and luminance values. The grid here is predefined by created their aesthetics using a predictable Cartesian grid. More the architecture dimension itself. It can be measured in any plane: recently, Renzo Piano and Bernard Tschumi superimposed different floor, wall or ceiling. But it must always be rectangular, whereas in grids in their architecture design. And Jean-Claude Bignon is architecture the grid could be hexagonal like the Suzhou Science and demonstrating that the Grid is far from passé. Cultural Centre façade in China reviewed here. Where should architect and lighting designer work more together? It Does the Grid stifle imagination? If you look at the original way is on the luminaire arrangement grid – the luminaire spacing, position designers are using the grid for lighting their architecture, you will and orientation in the architecture design. In that respect, a lot still probably say no. And perhaps in your next project, your imagination can be done! How often in offices does the light from downlights will release the flexibility of the Grid. concentrate too much on the wall, creating distracting hot spots in the visual field? Two examples presented here illustrate alternative Vincent Laganier 19
  20. 20. THE SUzHOU SCIENCE AND CULTURE ART CENTER, CHINA A BRILLIANT SkIN Interview by Diana Y. Lu Few cities have stood the test of time better than Suzhou. It is said to be more than 2500 years old and its beauty has become a legend. Today it boasts the magnificent East Gardens and typical “white wall, black roof” houses along the river. It is also a city that is undergoing radical change, as new Perhaps we could have achieved a greater integration buildings – many in the new Singapore Industrial Area between all aspects, by combining different sources of to the east of the city – spring up. The latest building light. Architectural design is only part of the life of a to grace Suzhou is the Science and Culture Art Center, building. As time passes, it is the users who decide how a stunning example of modern architecture based on successful we have been.” a concept by the French-based architect Paul Andreu and executed under the supervision of Cui ZhongFang The lighting concept was in the hands of Mrs. Peipei of East China Architectural Design & Research Institute Jin, local cooperation designer for the Suzhou Science in Shanghai. Culture Art Center. How did she approach the design? “A piece of façade, a piece of peel and a garden”, explains “It is essential that we convey the imagination of the executive architect Cui ZhongFang. “These are the architect,” said Mrs. Jin. “That is the starting point for our elements of the final design. The façade of the main design. We focused on the peel and the façade, trying to architecture, the peel of the commercial centre in the bring to life the original concept of the ‘Brilliant Peel’. middle and the garden inspiring the landscaping.” EMBEDDED SOLUTION HEXAGONAL GRID During the day, the façade changes as daylight moves Undoubtedly, it is the metal mesh of the façade that across it; in the evening, the lighting incorporated in it provides the building with its unique identity. encapsulates the building in a coloured skin. Each hexagon embedded eight LED low profile fixtures, each fixture Searching for the right decorative element for the metal containing 6 Red, 6 Green and 6 Blue 1 Watt high-power mesh occupied much of the architect’s time. “I wanted to electroluminescent diodes. create something that is familiar, but something with new technology. It was like searching for an elusive memory. I “In the evening,” explains Cui ZhongFang, “the mesh is wanted it to be linked to the rich tradition of Suzhou, but not only emphasised by the LED lighting, but also by the at the same time unique. And it had to be repetitive for interior lighting penetrating the façade. It provides a total easy production and construction. It is traditional design, view of the architecture.” absorbed and reborn in a new form. Mrs. Jin concluding: “Using a dynamic lighting method, we “The façade itself is constructed of nearly 2,500 repetitive tried to create an emotional and living concept, echoing hexagones. The architecture we created is not simply a the theme of the architecture. By carefully balancing reappraisal of the past; it is modern to the core. When façade lighting, roof lighting and interior space lighting, the we discuss modern architecture, we are not talking about whole building becomes both brilliant and mysterious.” the use of modern materials and technology, but about a modern approach to the concept of space. Architecture is designed for people. It is a dialogue between the architect and the users. LIGHTING CONCEPT “As architect, I concentrate on the soul of the building. The lighting design was included at the concept stage and we concentrated very much of the final lighting effect. But I believe we could have achieved something even better. For me, architecture must be an integrated whole. 20 DOSSIER
  21. 21. Client Suzhou Science and Culture Art Center Architect Paul Andreu; Paul Andreu architect; Paris, France (Concept design) Mr. Zhongfang Cui, East China Architectural Design & Research Institute Co., Ltd., Shanghai, China (Executive architect) Lighting Design Mr. Y.Nakamura, Tokyo Shomei Consultant Co.,Ltd., Tokyo, Japan (Concept design) Mr. Junwei Xie, Ms. Peipei Jin,; Shanghai Lighting Landscape Engineering Co.,Ltd; (Detail design and on-site support) Gong Zhang, Huge Shape Vision Art studio Electrical installer Ningbo Municiple company, China Lighting solutions Gongquan Qian, Diana Liu, Philips China Light sources Philips Lumileds LUXEON ® Led IW Red Green Blue Luminaires Philips Low profile Strip II BCS780-18 RGB SP Controls Philips Activemix systems i_BUS, ABB 21
  22. 22. 22 DOSSIER
  23. 23. 23 Gong Zhang, Huge Shape Vision Art studio
  24. 24. Wade Zimmerman THE LUXEMBOURG PHILHARMONIE: JEWEL OF LIGHT Written by Isabelle Arnaud 24
  25. 25. stage of the chamber music hall dressing room for solists Backstage void of the rehearsal rooms dressing rooms for solists void of the rehearsal rooms artists’ entrance stage of the auditorium Backstage the ticket booth musicians’ dressing rooms 0m 5 m 10 m 20 m 50 m French architect, Christian de Portzamparc, created a real harmony of shapes, colour and lighting that envelops and at the same time, comes from the building of the Luxembourg Philharmonie. Georges Berne, French lighting designer, L’Observatoire 1, took part in the project from an early stage. De Portzamparc conceived the building in the shape sequences. When sound and light fill in this wonderful of an oval, with an external appearance provided by a emptiness which opens between the built shapes, then colonnade screen formed by 823 closely spaced steel space and music reveal each other. columns at the perimeter supporting a thin, radius-edged roof. At the front prow of the ellipse, de Portzamparc “Seen from inside, the play of light here is very particular. widens the spacing between columns to accommodate The observer discovers a continuous dialogue of the entrance that runs parallel to Avenue Kennedy. transparencies. Even before I visited the site, looking at the pictures of this neighbourhood, I thought of guiding Two shells clad in metal panels rise on either side of the the public towards the future building through a forest main structure. The tangential curve of one appears to ring of high trees, but then, once I saw the site, I thought launch visitors arriving from underground parking into of a façade filter, neither completely opaque nor totally the peristyle. The other arcs up as the carapace of the transparent, but rather an envelope of light, with the chamber-music hall. Stretching 126 meters at maximum auditorium in the centre. A foyer-gallery encircles the length, and 109 m at maximum width, the building central kernel of the hall. The façade of this peripheral dominates the Place de l’Europe situated in the Kirchberg foyer is a vast filigree of fine columns mathematically quarter on the north-east side of Luxembourg. organized in curves. The rhythms affirm the outer shape of the hall and offer a wealth of varying views deep into Along with acoustic excellence for concerts ranging from the building, depending on where you stand. symphonic music to amplified jazz, the tacit expectation was that the structure rise to its ceremonial function as a “I like the contrast between the brightness of the crowning symbol of the new, sophisticated Luxembourg illuminated foyer-gallery and the darkness of the concert City. The concert hall also had to address the plateau’s hall. In between, the wall looks like a prismatic cliff, from main thoroughfare and ceremonial boulevard, Avenue which colour springs up. These colourful crevices achieve John F. Kennedy a particular chromatic subtlety, making the geometric façades decompose the colours at a height of 20 metres.” A DIALOGUE OF TRANSPARENCIES “I believe”, says Christian de Portzamparc, “that space A PARTITION OF LIGHT can be considered as a phenomenon that one discovers Outside, the building works as a “lamp” in the night, throughout time, movement, with all its surprises and its as indeed was Christian de Portzamparc intention. 25
  26. 26. Wade Zimmerman Nicolas Borel Coming from the asymmetrical downlights (Odyssey) recessed in the ceiling of the foyer-gallery and through the glass façade between the steel columns, a white light bathes the Place de l’Europe. Outside, recessed ground projectors complete the lighting. To meet the architect’s requirement, the place has been freed of all the lighting poles in order to offer a full view of the new building at night. The illuminance levels go from 5 to 10 lux, depending on the program chosen for the lighting (all lamps on or half of them). “Our reflection on the lighting concept of the Philharmonie building”, explains Georges Berne, “concerned both the interior and the exterior of the building. We were in charge of the urban lighting, and we took the opportunity to create lighting effects that reveal the architecture of the building from the inside and illuminate at the same time the Place de l’Europe, created by Riccardo Bofill in 1996.” Inside, the colonnade of the foyer-gallery is lighted by a white light emanating from the downlights Odyssey, designed previously by Georges Berne for another Philips installation, equipped with two metal halide lamps, one of 70 W and one of 150 W. “Two rows of fixtures are disposed in the ceiling, evoking notes of music on a stave”, Client adds Georges Berne. 260 downlights have been installed, Ministère des travaux Publics, Administration des offering a level of 50 lux obtained when the 70 W Travaux Publics, Grand Duché du Luxembourg luminaires are on, 100 lux when the 150 W luminaires are Architect on and 150 lux when all the downlights are lit. Christian de Portzamparc, Paris, France Lighting Design Furthermore, the homogeneous and powerful light of this Georges Berne, François Migeon, Remy Cimadevilla, L’Observatoire 1, Paris, France system allows the hollow prismatic crevices of the “high cliff” to provide a changing, coloured lighting experience. Consultant engineers Felgen & Associés From far away, by night, the public can tell if there is Electrical installer Cegelec Luxembourg a concert or not: if there is a concert, this dimming coloured vertical light illuminates the crevices, otherwise Light sources Philips MASTERColour CDM the monument shines only in a white light, letting the architecture be a silent but luminous spectacle. Luminaires Philips Odyssey 310 Artemide; Bega; Erco, iGuzzini, LEC, Le néon de la Capitale, Martini, Panavision, Targetti, Z-Lighting, 26 DOSSIER
  27. 27. 27 Nicolas Borel
  28. 28. Rob Hoekstra 28 DOSSIER
  29. 29. OFFICE COMPLEX WESTRAvEN – UTRECHT, THE NETHERLANDS: TWO YEARS ON Interview by Jonathan Ellis An interview with Ronald Schleurholts, architect of the Westraven Office Building for RWS, the Dutch Directorate of Public Works and Water Management The former Westraven Tower in Utrecht held few charms for the people working in it. Sombre, small rooms shut off from contact with others, depressing. It was a challenge for Ronald Schleurholts, architect with the Dutch design agency Cepezed, to radically change the building. “There was initially a lot of resistance from the people who worked there,” said Ronald Schleurholts. “Few were eager to return, not just because of the memories of how things used to be, but also because they were uneasy about the high level of transparency we had introduced into the building. Before, people were able to hide themselves away in their cubby-holes; now everybody can see everybody else. You can see who is sitting in the director’s office. You know if your colleague is available. And this has had a positive effect. The transparency, I am told, is also reflected in the management style. People are now involved. And the views from the building are fantastic. You can now look out over the canals and motorways for which the people working in the building are responsible.” The building that was formerly so dark and oppressive is now bathed in light. In fact, the Westraven Office Complex won the coveted Daylight Award in 2008. This award is presented every two years to a building that demonstrates an optimum combination of daylight, artificial lighting and architectural excellence. “Introducing as much daylight as possible was our first priority. People function better in daylight. They feel more comfortable, more in tune with the natural rhythm of life. Daylight is constantly changing, and this is far more stimulating than a bland, constant light level often found with traditional uses of artificial lighting. By introducing so much glass and allowing natural light to enter the building, people are happier doing their work. What’s more, they can orientate themselves better in a building which offers both a view and daylight. 29
  30. 30. Korff en Van Mierlo 30 DOSSIER Rob Hoekstra Korff en van Mierlo
  31. 31. “Of course, artificial lighting is also essential. We were able to combine the benefits of both by introducing daylight-controlled artificial lighting. The system of dynamic lighting we used actually ensures that the artificial lighting mirrors daylight. Constantly changing in subtle ways. In this way, we create an ambiance that is pleasant for work. You know, a building only really comes to life when it is lit. It is light that makes a building interesting. Yet it mustn’t be intrusive. A building should not suddenly change when the lights are switched on. This is disturbing. One project we undertook was a car showroom. Now cars are designed to look their best out of doors. So the challenge was to create an environment in which we brought the outdoors inside. A careful combination of natural and artificial light plus a well chosen finishing made this possible. “ The Westraven Tower leans heavily on the use of the grid. Did Schleurholts find this restrictive? “I think it is important to include the grid as early in the design stage as possible. By using it, you design in flexibility – it gives you enormous freedom for designing the interior space and adapting it at a later date. After all, a building needs to be able to change. By using a grid you make it possible to change the building as the need arises. “Another advantage of using the grid was that we were able to design high-quality ceiling units. Thanks to the high repetition of these elements, standardised high-end elements could be used within the strict budget parameters. In these, we incorporated lighting, air conditioning, loudspeakers – all the modern technologies that are essential in an office building today. But we were able to make them unobtrusive. People shouldn’t be bothered by technique. It is there to serve them, not to take centre stage. “In our design, we made use of two different ceiling elements – one for the office space, the other for the corridors. The grid provided structure, yet gave us the opportunity of designing in deviations to the grid which makes the building fascinating. When you drive past the building in the evening, you see the grid clearly. The lighting accentuates it. But you are also aware of the deviations. It is much more interesting. “ Now that the office building is in use, Ronald Schleurholts is still satisfied with the results he achieved in Westraven Tower. “I certainly believe we produced the best design possible within the parameters set. But more importantly, the reactions from the people who work there – and they are, after all, the most important critics – have been uniformly positive. The initial resistance – the idea that everybody would be subjected to social control in such an open and transparent environment – has disappeared. People now feel comfortable, relaxed. And I am convinced that much of this is due to the use of light. It certainly provides a stimulus to Client continue along the same road in the future.” Rijksgebouwendienst (Dutch Ministry of Housing and Construction) Architect Ronald Schleurholts, Jan Pesman CEPEZED Architects Delft, The Netherlands Lighting consultants Het Lichtatelier - Grontmij Technisch Management Amersfoort, The Netherlands Lighting solutions Philips Netherlands Light sources Philips TL5 2700 and 6500K Luminaires Philips TBS 375, Lightmaster Modular system Lighting scenario’s Dynamic lighting; summer and winter scenario, temperature limiting 25 ºC, minimum lighting intensity, EN-12464 31
  32. 32. THE GRID: A TOOL FOR DESIGN By Jean-Claude Bignon Architect, Professor Ecole Nationale Supérieure d’Architecture de Nancy CRAI-MAP (Centre for Research into Architecture and Engineering) Architectural and engineering design is, by nature, very complex. It requires the use of graphic interventions to assist with the formulation and solving of problems. Among the various instruments for representation, the grid is a particularly fruitful device, which makes it possible to guide research into forms, while reducing the field of possible solutions and showing what the products, works or spaces are capable of. A grid can be defined as an ordered network of axes in to unlimited combinations, it assures unity in diversity, one or more directions, and with one or more pitches which is an incalculable advantage, a miracle derived from (fixed or variable spacing). A grid is therefore a graphic numbers2”. The construction of a “harmonic grid” from tool in the same way as a line, a full stop, a symbol or a a modular unit acts for Le Corbusier as a measurement mark. However, it is also a scalar system, the variables of system which makes it possible to reduce the almost which (and their values) assist design operations. Each of infinite number of dimensions of an open work by means the axes of the grid can be assimilated to discrete units of the metric system, by replacing this number by a which have no meaning, but which combine into complex proportioning device which is more limited, but is based units (or modules) which do have meaning. Some on the human scale. examples of grids will illustrate this text. 1978:THE ACC GRID 13TH CENTURY: WALL AND FLOOR TILES In 1978, the Association Construction et Composants Towards the end of the 13th century, “Parisian tilers had (Building and Components Association - ACC) proposed the idea of forming small mosaic elements from tiles a document concerning the general conventions for which were surface-etched before being fired. Although dimensional co-ordination. By defining a co-ordination the technique was already known for dividing a tile into grid with vertical steps of 100 mm and horizontal steps two triangles or rectangles by means of a simple incision, of 300 mm, the ACC proposed a reference system for this workshop produced several incisions in order to “those who create ranges of components, or structural create as many as sixteen or even thirty two multiple systems, who participate in the development of particular small elements from a single square. […] It therefore conventions for assembly, tolerance and quality, or who became possible to create remarkably complex mosaic conceive projects with concern for architectural and panels1”. In this example, the idea of forming a grid for technological openness3”. According to the authors “the the products and surfaces to be covered is based on use of a dimensional discipline based on modulation the search for a practical combinatory system for their represents an element of simplification”. The simplification creation. The grid acted as a calibration tool, at a time provided by this ACC grid went hand in hand with when measurement units were not homogeneous, and anticipation of problems relating to compatibility of when graphic documents, when they existed, never components and implementation, in terms of both contained dimensions. However, the module was also definition and positioning of the products. It co-ordinated used to guide the design work. Grids based on modules not only the dimensions, but also the technical devices, provided a mathematical or even spiritual essence, by and even the implementation operations. This is what assisting with the proportioning and positioning of the gave it its operative character for technical design parts of a building. within the context of logic which is known as “open industrialisation”. 1940:THE MODULOR In the forties, Le Corbusier developed a measuring THE EFFECTIvENESS OF THE GRID system which he intended to be universal, and was These examples emphasise the dual efficiency of the grid. designed to proportion spaces, works and objects: Firstly, it provides designers with a genuine measurement “The Modulor controls lengths, surfaces and volumes. It system which reduces the field of possibilities to maintains the human scale everywhere, and lends itself dimensions which are considered to be relevant from 32 DOSSIER
  33. 33. UMR CNRS MAP - ENSAL a point of view which is simply technical, or one which Location Cité internationale, Lyon, France is more “philosophical”. While analysing the principle of regularity more generally, the historian Jacques Guillerme Architect Renzo Piano Building Workshop, Genova, Italy saw graphic reticulation as a “network which generates a limited number of spatial operations by means of a law of continuous co-ordination4”. It also makes it possible to anticipate the object (the product or component), proportion it and position it so as to facilitate its execution. The grid therefore acts in two ways, i.e. as a means of simplification of the possible solutions, and as a heuristic projection of the problems of measurement and position. The grid is an instrument which acts in the complex system of design. Against the random, it proposes the rule; against the uncertain, it proposes the premise; against the infinite number of measurements, it proposes the informed dimension. The grid therefore plays a particularly fruitful part in assisting design. It constitutes a system of “operative lines” which regulates graphically the space of the representation, and semantically the space of the design. It is a simulated figure which makes it possible to measure and position, and therefore to plan. 1 C. Norton, Carreaux de pavement du Moyen Age et de la Renaissance [Floor tiles in the Middle Ages and Renaissance] art and history catalogue of the Musée Carnavalet, Paris, Editions Paris-Musées, 1992. 2 Le Corbusier, Le Modulor, Essais sur une mesure harmonique à l’échelle humaine applicable universellement à l’architecture et à la mécanique [The Modulor, Essays on harmonic measurement on a human scale, which is universally applicable to architecture and mechanics] [1950], Paris, Editions de l’Architecture d’aujourd’hui, 1983. 3 ACC, La Pratique de la coordination dimensionnelle, les conventions… Pourquoi ? Comment ?, [Dimensional co-ordination in practice, the conventions … Why? How?] Paris, Editions du Moniteur, 1979. 4 “Notes pour l’histoire de la régularité” [Notes on the history of regularity], Revue d’esthétique, Paris, n°3, 1970. 33
  34. 34. IMAGINATIvE CONCEPTS Philips Research Imagination is at its best when it knows no restrictions. When Take retail, for example. Feedback shows that customers constantly demand fresh experiences. That atmosphere the mind is allowed to range freely, exploring new paths that is vital. But often atmosphere change goes hand-in-hand could lead to solutions that make a practical contribution to a with high investments. Can some way be found to allow change at the flick of a switch? specific sector. Philips thinks it can. And to assess imaginative ideas, it uses a retail-dedicated ShopLab which allows fully operational value propositions to be tested in a realistic shop environment. Based on a deep understanding of shoppers and retailers, innovative concepts are being developed and tested with these stakeholders. Philips Atmosphere Flipbook contains illustrations reflecting atmospheres, all pre-programmed in the shop’s Light tiles master lighting design. The shop owner – who does not need to be a lighting designer – simply browses through the book and chooses the atmosphere required. Each page has a unique ID associated with the lighting scheme in the book and opening the chosen page instantly gives the store the chosen atmosphere. And new atmospheres can be added at will. Instant change at minimum costs. 34 FEEDBACK
  35. 35. 3 x3Spot LED surface mounted x Spot LED surface mounted 3 x3Haloshelf x Haloshelf Glass Glass Another important area of retail is display. The HaloShelf uses light to create a decorative ring of light around a Buttons Buttons product. It can be given any colour in the spectrum so that each product is given its own halo of light. A big advantage is that this colour can be changed easily and that it is not necessary to repaint display elements when new products arrive. 01 01 02 01 02 01 Another innovation is the Reactive Spotlight. It provides accent lighting on a product such as a fashion accessory Product Product or luxury item, but when a customer approaches the display, the beam narrows and helps to focus the attention of the shopper on the product. It is a response to the customer’s interest and the effect is almost as if a shop assistant presents the product to the shopper for inspection. Imagination is being stimulated in the ShopLab with very interesting results. Drawings by: d’Art Design, Neuss Germany Product 35
  36. 36. SHOWROOM 36 FEEDBACK
  37. 37. HOTEL DU LAC Lighting applications are becoming increasingly specialised, clearly focused on responding to specific requests from clients in particular areas. Lighting applications are becoming But demonstrating the very increasingly specialised, clearly latest lighting technologies – such focused on responding to specific as LEDs – is only part of the requests from clients in particular solution. Because Philips Lighting is areas. concentrating much of its efforts on developing environmentally friendly Philips Lighting Application Centre technologies that lower the total (LAC) is a unique showroom where cost of ownership. It allows clients lighting speaks louder than words. to upgrade to more effective lighting Here, we present our expertise in solutions in the knowledge that these a practical way, demonstrating in will be more environmentally friendly an actual setting the effects that and, in the long-run, considerably can be achieved with imaginative lower the costs of operation. use of sophisticated lighting technologies. For this allows such Hotel du Lac is very much a tool ideas to be assessed in their proper being made available to clients, environment. And provides both lighting designers and architects knowledge and inspiration to lighting working in the hospitality sector. designers and architects. Being able to see solutions in practice places them in a A recent challenge came from the unique position to leverage new Project hospitality industry. It is important technologies that are at once Hotel du LAC that guests should immediately feel complementary to their design aims Location comfortable in a hotel, for example, while keeping operating costs down Lighting Application Centre, Eindhoven, The Netherlands because this ensures repeat business. to a more than acceptable level. Careful and imaginative use of Interior architecture and Please contact your local Philips office lighting solutions lighting can make an important for a LAC visit. Ulrika Vis van Heemst, Lin Pöpping, contribution to this. And so Philips Philips Lighting Lighting created the Hotel du Lac. Interior Design Using over 500 lighting sources, Van den Oever Tentoonstellingsbouw. creating 35 different ‘scenes’ the Light sources Hotel du Lac demonstrates how Philips LED’s, MasterColour, Halogen, Compact Fluorescent lighting can be used to create exactly the right mood in reception, guest Luminaires Philips Fugato, Savio, Spot LED’s, Celino, rooms, bars, restaurants and other Fiorenza, Scrabble, Origami, Amazon LED, public areas. LEDflood, LEDline² 37
  38. 38. Philippe Soetaert, CNSMD de Lyon 38 FEEDBACK
  39. 39. concept corner RECESSED LIGHTING by Natacha Lameyre, Christian Ferouelle The use of recessed luminaires in an architectural setting is growing due to their discretion and their on-site integration. They allow uplighting effects that completely change the identity of an architectural structure from its day appearance Different architectural structures can be illuminated using fixtures for recess mounting. A number of tests have been undertaken to study both heritage and contemporary sites: a classical pillar gallery and a contemporary arch gate at CNSMD, Conservatoire National Supérieur de Musique et de Danse in Lyon, France. The aim was to illustrate the effect of a given beam shape from a recessed luminaire on a specific architectural volume. 5300 Two kinds of recessed LED luminaires were used in different shapes: square and linear. The sites were illuminated with a wide range of optics: 4000 asymmetrical, rotational, linear and rectangular shapes with narrow, medium or wide beams. For the on-site photographic sessions, rough lighting schemes were prepared indicating the positioning of the luminaires in relation to the architecture. 800 1500 Each lighting design scheme photograph was taken from a different shooting angle: front, lateral and side views. We began by shooting the basic individual lighting effects and then combined these basic effects, two at a time. Viewing the illumination from these various angles gives rise to a different perception of volume, contrast and layers. These tests show what kind of basic effects can be obtained with different light beams and how compositions of effects can be achieved. More complex effects can be created using several kinds of light beams or colour 4000 temperatures. This makes it possible to emphasize one structure more than another to highlight the architecture, to suggest specific details and so on. 2700 Incidentally, it is possible to change completely the identity of a classical or contemporary building from its daytime appearance. This is why such effects should be used with caution. In most cases, combining more than two 3600 1000 different effects can overload the architecture and this does not enhance its appearance. 39
  40. 40. 200 Asymmetrical beam Philips LEDflood recessed Wide beam Philips LEDline² recessed 180 Narrow beam Philips LEDflood recessed Rectangular linear beam Philips LEDflood recessed Lighting plan Asymmetrical beams produce a soft and uniform wash of light on the ceiling. This illumination reinforces the volume of the vault. The light follows the pillars perfectly, creating a high General lighting is created with warm white asymmetrical level of contrast. Light and dark spaces give rhythm to beams. This gives volume to the gallery. The door is the gallery. emphasized by linear narrow beams. The two different colours make the entrance door more visible. 40 FEEDBACK
  41. 41. 2100 180 Underlining the arch with two linear wide beams seems to cut off the background pillars. The light follows arch inner side perfectly, revealing the corners of the architecture. Another way to underline this architecture is to light The linear beams on the pillars in the foreground reveal the it with two rectangular beams (2x4°/2x27°). The light corners of the architecture. If we also highlight the pillars in follows the top of the arch more effectively. the background, our perception of the architecture changes: we now perceive the arch as a three dimensional object. Moreover, the contrast between the two colors add to the perception of depth. 41
  42. 42. SEEING IS BELIEvING By Matthew Cobham, Bayu ade Pramudia Today’s lighting designer has a wide range of tools which can be used to assess lighting designs. Software simulation in particular is playing an important role, yet nothing can fully replace the actual experience of seeing a lighting design translated into reality. With this in mind, lighting specialists at Philips in the South East Asia Nation the so called ASEAN region recently organized the “Seeing is believing” events in Singapore, Thailand and in Bandung Indonesia. The event in Bandung focused on SSL – Solid State Lighting. Not simply as a concept, but also in a tangible form. For recently, SSL has been used in the Plaza Dago, one of Bandung’s main centres. The aim of the event was to create awareness of what can be done using SSL and also to demonstrate the artistic results that can be achieved. An important feature of the event in Bandung was a photographic competition for young, amateur and college photographers. Their brief: to show the artistic results of SSL lighting. The photographs were all taken on one evening and had to be submitted to the jury by the next morning. No electronic manipulation of the photographs, using computer software, was allowed. A selection of the entries is included here. The photographs were later sent to all customers and the owners of buildings and the comments were very positive. Many commented that the use of façade lighting increased not only the attractiveness of the buildings, but also their image and value. 42 FEEDBACK
  43. 43. Albert Yonathans Riva Latifah Refleksi di bebatuan Dunt Doni Afriyanto Riva Latifah 43
  44. 44. Doni Afriyanto Handy Pranoto lampu Fajar Cahyaardi 44 FEEDBACK
  45. 45. Aditya Bayu Habibi MP Alfrizal 45
  46. 46. BOOkS Ingo Maurer: Designing with Light Light, Luz, Lumière, Licht Author: Bernhard Dessecker Author: Fernando de Haro, Omar Publisher: Prestel Publishing Fuentes (Germany), December 2007 Publisher: AM Editores (country), ISBN-13: 978-3-7913-3829-3 January 2008 288 pages, 600 colour illustrations, ISBN-13: 978-9-7097-2664-0 Half-Linen 272 pages, 429 colour illustrations, Language: German and English hard cover prestel.txt.de Language: English, Spanish, French, German Ingo Maurer has been illuminating lives since 1966, when www.ameditores.com he designed his first light fixture for an installation at the Herman Miller showroom in Munich. His creation was The volume, useful for individuals and professionals, entitled Bulb and featured a light bulb within a light bulb. presents the most excellent ideas in home lighting, The design was so successful that Maurer had to produce including a great diversity of possibilities as much of lights more to match the demand. Since then, his fascination as of types of illumination in the different spaces from a with lighting, his pursuit of simplicity of form, and his house. The solutions that are simple to make and they talents as a graphic designer and typographer have adapt to all type of budgets. brought him to the forefront of his field. Provoking Magic: Lighting of Ingo Iluminacion/ Lighting Maurer Authors: Fernando de Haro, Omar Authors: Kim Hastreiter, Julie V. Fuentes Lovine, Claude Maurer, Ingo Maurer Publisher: Arquitectos Editores Publisher: Editions Assouline (France), Mexicanos (Mexico), Novembre February 2008 2007 ISBN-13: 978-0-9105-0394-5 ISBN-13: 978-9-7097-2655-8 144 pages, 150 colour illustrations, 64 pages Paperback Language: Espagnol and English Language: English www.assouline.com Designing With Light: An Introduction Published in conjunction with a major exhibition at the to Stage Lighting Smithsonian’s Cooper-Hewitt, National Design Museum, Author: J. Michael Gillette Provoking Magic: Lighting of Ingo Maurer presents a Publisher: McGraw-Hill Humanities/ broad array of Maurer’s iconic works, remounted and Social Sciences/Langua (United reconceived specifically for this project. States), February 2007, 5th Edition ISBN-13: 978-0-0735-1415-4 384 pages, colour illustrations, The Electric Light: Thomas Edison’s Softcover Illuminating Invention Language: English Author: Liz Sonneborn www.mhhe.com Publisher: Chelsea House Publications (United States), June 2007 This comprehensive survey of the practical and aesthetic ISBN-13: 978-0-7910-9350-4 aspects of basic stage lighting design treats its subject as 128 pages, colour and black-and- an art closely integrated with that of the director, actor, white illustrations, hard cover and playwright, and as a craft that provides practical Language: English solutions for the manipulation of stage space. chelseahouse.infobasepublishing.com In 1879, Thomas Alva Edison invented the first practical incandescent electric light in his Menlo Park, New Jersey, laboratory, ushering in an era driven by electricity. The Electric Light is an enlightening look at this monumental achievement, examining how the lightbulb was partly responsible for transforming the country’s agrarian economy into the modern industrial economy it is today. 46 FEEDBACK

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