Luce Brochure 2012


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Luce Brochure 2012

  1. 1. L LUCE GROUP212/ 330-7640 ABOUT LUCE GROUPLuce Group brings new emphasis to a valuable old word: collaboration. A design partnership, started in1997, Luce capitalizes on the combined experiences of diverse, accomplished, productive professionalwhose passion is to create superior spaces and settings.What is most potent for our clients is that our group can design conventionally - but also works ahead of thecurve. We have intentionally blurred the traditional boundaries of theater, live event, media, architecture,exhibition, plastic form, and illumination. We are constantly seeking out the latest in technology and, con-versely, have been sought out by manufactures to help guide the development of their new equipment.Not only do we create the designs, we are hands-on during their installation. Each Luce partner is an on-sitemanager who directs the work of the related technicians and trades. We have a process we call“collaborate/challenge/cross-check,” so that every project functions smoothly, exceeds aesthetic require-ments, meets budget and schedule, and takes into account sustainability and maintenance.We’re artist, educators, and producers. We’re international. We’re formally trained in theatrical design.We are active in the museum, theater and architecture communities and have spoken at numerous confer-ences on topics ranging from historic homes to holding events in institutions.The company is certified as a WBE in both NY State and NY City. We recently were awarded our GSA con-tract. We are members of AAM, AASLH, IES, NAME, USGBC, USA, TEA, and NYSERDA, amongothers. Our client list ranges from the Smithsonian Institution to the Nantucket Historical Association, andfrom Performance Space 122 to Public School 119.We’ve won our share of awards - most recently the 2010 IES DC Section Guth Award for “Moving BeyondEarth” - and have been published regularly. The Boston Globe called our museum lighting “superb.” Wedesign, solve problems, and respond uniquely for each project. Because of this, and because we bridge"traditional” and “cutting edge,” our clients continue to return to us.ACCOMPLISHED ACCESSIBLE AHEAD OF THE CURVELuce Group 21 E 4th street 7th floor NYC NY 10003 212.330.7640
  2. 2. L LUCEGROUP212/330-7640www.lucegroup.comEXHIBIT LIGHTINGMUSEUMS/GALLERIES• Cooper-Hewitt, National Design Museum, NY• Hands On! Inc./Discovery Place, Charlotte, NC SELECTED CLIENT LIST ARCHITECTURAL LIGHTING COMMERCIAL • • Barrio Restaurant• KPC Experience Design/Smithsonian Institution, DC • Discover Today’s Motorcycling• KPC Experience Design/State Museum of Pennsylvania, PA • Helpern Architects/Collegiate Church Offices• Lincoln Cottage/National Trust for Historic Preservation, DC • Manhattan Color Studio• Main Street Design/Hudson Museum at Orono, ME • Phoster Lighting• Nantucket Whaling Museum, MA • Ritz Theatre, Newburgh, NY• Neuberger Museum at SUNY Purchase, NY • Senses NY• New York Historical Society, NY • Sibling Entertainment Inc. Offices• RAANY/Smithsonian Institution’s NMAAHC, DC • The Penn Club• Quatrefoil/Philadelphia United States Mint, PA • Tishman Speyer• Seventh Regiment Armory, NY INSTITUTIONALTRADE SHOWS/SHOWROOMS • Helpern Architects/New Utrecht High School, NYC • Helpern Architects/PS 119 Library, NYC• Haddad Brands, NY • Helpern Architecs/St. Francis College, NYC• Intrepid Sea, Air & Space Museum/Bizbash, NY • Helpern Architects/Vernon Center, NYU, NYC• L2 Productions/Discovery Brands, NY • JKLD/New York Public Library, Bartos Forum• Revillon, NY • Nantucket Historical Association• Rosco/LDI, FL LANDSCAPEEVENTS • Briarcliff Manor, NY, Residence• Benson Marketing • Silvercup Studios, NY• Bronx Museum • Villanova Preparatory School, Ojai, CA• Christian Cultural Center• Colin Cowie Lifestyle RESIDENTIAL• Cornerstone Communications • 60 East 8th Street Apartment Building• FEVA - Federation of East Village Artists • Area Interior Design LLC• Jacob & Co. • East 21st Street, NYC, Residence• Kaplow Communications • Lovejoy Durea Interior Designer• Lifestart Inc. • Park Avenue, NYC, Residence• Lizzie Grubman PR • Shelter Island, NY, Residence• Loire Valley Wine Bureau • Soho, NYC, Residence including terrace• Maricopa Partnership for Arts and Culture• MTV Networks Special Events• New York Housing Authority MULTIMEDIA • Gotham Magazine Launch Party• NYC2012 • Rosco Training Video• Performance Space 122 • Trinity Productions and New Media
  3. 3. L LUCEGROUP212/ 330-7640www.lucegroup.comACCOMPLISHED TRACI KLAINER POLIMENI AHEAD OF THE CURVETEACHING SPECIALTIES New School University, adjunct Museum, event, and entertainment lighting faculty in Lighting Design Guest professor - Lighting Design: PROFILE Carnegie Mellon University Gifted in bringing life to static museum collections, Traci Klainer has New York University lighted objects that range from motorcycles for the Guggenheim Museum Smith College in Las Vegas and at Rockefeller Center in New York, to a whale skeleton SUNY/Purchase for the Nantucket Whaling Museum. Other installation work includes UMASS/Amherst exhibits at the Jewish Museum, the Chelsea Art Museum, the Studio Museum in Harlem, all in New York, and both traveling and specialMEMBER exhibits for the Smithsonian, including the Smithsonian’s 150th American Association of Museums Anniversary Tour. American Association of State and Local History Traci is active in the museum community and has chaired or been invited IES: Illuminating Engineering Society to speak on several panels at AAM, AASLH and ASTC conventions with IMTAL: International Museum topics ranging from exhibitry in historic homes to designing and managing Theatre Alliance events in museum spaces. NAME: National Association for Museum Exhibition Traci has a parallel reputation for her varied theatrical lighting design. She TEA: Themed Entertainment is credited with lighting over 100 productions – assignments that have Association taken her from Broadway, Las Vegas, and regional US theaters to Scotland United Scenic Artists Local 829 and Japan.EDUCATION HISTORY MFA in Lighting Design – NYU/ Co-Founder, KD & Associates [which became Luce Group], 1997 Tisch School of the Arts TRK Design, 1995-present BA – Smith College Asst. to Resident Lighting Designer, Guggenheim Museum, 1997-2006 Associate/Assistant Lighting Designer on and off-Broadway, 1992-2002HONORS Drama Desk Award Nomination for APPLAUSE “Asphalt Kiss”, 2006, NYC Entertainment Design Metrolina Theatre Award Lighting Dimensions Nomination for “Pump Boys and A+U Dinettes”, 2004, North Carolina Numerous Las Vegas publications Lucille Lortel Nomination for “Four”, NY Times On Line Interview [with Luce partner Lauren Helpern] 2002, NYC Theater work reviews from around the USTHEATRICAL
  4. 4. L LUCEGROUP2 12 / NANTUCKET WHALING MUSEUM CLIENT: NANTUCKET HISTORICAL ASSOCIATION The Nantucket Historical Associations Whaling Museum, which opened in June, 2005, is comprised of three ARCHITECT: MARTIN SOKOLOFF EXHIBIT DESIGN: AMAZE DESIGN, INC. CASE WORK: ART GUILD, INC. buildings: a restored 1847 spermaceti candle factory, the Foulger Museum, and a new wing connecting the two. Luce Group worked with the museum staff to craft an environment that enhances the character and traditions of each building, provides a smooth transition between them, and focuses attention on the many artifacts. The centerpiece of the museum - the skeleton of a 470" sperm whale - is housed in the Hunt Gallery. Luce had the challenge of designing the lighting for both a traditional exhibit and a live presentation of the whale hunt story, which involved video and theatrical effects. To accomplish this, Luce used both architectural and theatrical lighting fixtures. The latter, which were focused in unexpected ways, brought color and movement into a static museum environment. The other galleries required standard gallery lighting for objects ranging from a giant beam press to fragile maps. Great care was taken to provided illumination that would work during the day and evening at light levels low enough for sensitive objects. Luce successfully met the museum’s challenges, creating elegant, exciting and functional lighting.
  5. 5. L LUCEGROUP21 2/ LINCOLN COTTAGE CLIENT: NATIONAL TRUST FOR HISTORIC PRESERVATION ARCHITECT: HILLIER ARCHITECTURE LOCATION: WASHINGTON, DCLincoln Cottage was President Lincoln’s seasonalresidence while he was in office and where he framed hispolicy on emancipation. The house has been restored tothe glory of this era with contemporary infrastructure.Docents take groups on a prescribed tour route, usinghandheld remotes to trigger pre-programmed lighting thatframes the visitor experience. Luce Group designed theperiod fixtures, cued the tour, and specified the controlsystem, which is used both locally and remotely.Modern technology brings the house to life, providingenough illumination to meet current codes while remain-ing aesthetically true to the project.
  6. 6. ! !"#$%&"()*) +,,- ./01 -CCCDEFGHIJKFLDGKM 2$&&3#223 53&&6&7Over 200 artrifacts from China, including several life-size terracotta #!6$829 :67#;$&< 2=> $>=6?62 :$76%89 #3?68$2 ?&3"8.?&3@8 ;$8"$9 :67#;$&< 26A$7 7B"3&$warriors, were on display at Discovery Times Square. Luce Groupworked closely with the exhibit design team to tell their story. Thegallery spaces, which vary significantly in height, were lit dramati-cally, highlighting the artifacts and text panels. Both track andtheatrical fixtures were used. Effects, like falling leaves and oozingliquid, served as backgrounds for the famous statues. Caseworkwas treated with different techniques, from in-case fiber optic tomore traditional out-of-case lighting.
  7. 7. L LUCEGROUP2 12 / BELL LABS TECHNOLOGY SHOWCASE CLIENT & EXHIBIT DESIGN: LIBERTY SCIENCE CENTER/LSC EXPERIENCE SERVICES“The Bell Labs Technology Showcase brings to life the many ARCHITECT: GENSLER LOCATION: ALCATEL/LUCENT, MURRAY HILL, NJbrilliant inventions and discoveries made by our researchers overthe past century, along with the current research that we believewill impact the way we communicate in the future.” -- Jeong Kim, President of Bell LabsLuce Group worked with Liberty Science Center’s ExperienceServices Group and Gensler on the new Bell Labs TechnologyShowcase and adjacent conference room. The connecting spaceshave floor to ceiling windows, red brick, concrete, and a newgraphite-colored floating drop ceiling. Luce Group worked withthe architects to specify and incorporate a track system and, forthe conference room, downlights, into the ceiling. Consistentcolor and illumination were important for the design.On display in the gallery space, among other artifacts, are anoriginal Telstar satellite, the laser, the transistor, the UNIXlanguage and proof of the big bang theory. Since the artifacts are displayed in a number of ways - in wells in the table, in cases, and in the air - Luce’s design not only incoporated traditional gallery lighting, but also different types of in-case lighting, embedded decorative lighting. Challenges included different ceiling heights, different levels of daylight, and the need to preserve irreplace- able artifacts. Luce Group also lit numerous drops and the gallery’s entry banners.
  8. 8. L LUCEGROUP212/ MAIN ENTRY WALL INSTALLATION CLIENT: DISCOVERY PLACE LOCATION: CHARLOTTE, NC Luce Group worked with the Discovery Place team to create a giant LED installa- tion for their main entry and ticketing area. The shape and the content were based on the theme “emergence.” For both the artistic vision and cost consid- erations, the team decided to use MiPix,, which is an intelligent LED pixel block. The design is low resolution, with a 1:1 ratio of used and unused space. The face of the installation is a deep red painted metal surface, chosen to withstand all types of wear and tear. From lava lamp blobs to ladybugs, several hundred short video clips were chosen to provide over 30 minutes of content, enough to cover even an extremely long wait on the ticket line. These clips were put into an order that provided diversity of topic, style and color, with fluid transitions.
  9. 9. ! !"#$%&"()*) +,,- ./01 -CCCDEFGHIJKFLDGKM #!& 34$56 7&8 79: ;75<=9 >? 59=7 :$!7"97? $@<=>=8 :$5=%96 85<=A 3&= 7&#<=8$#85 4$9"$6 #($&.<$B=88 978=97! :$5=%9 3"5$"3 "9=8$: 5878$5 7&8 #&=8=#5 755#=78=9 7B7&: ;& >$58 7&#<=8$#8"&$ & :$5=%9 5<B This exhibit on the second floor of the Cooper-Hewitt Museum was comprised mostly of light sensitive art and fabric by the great artist and designer, Sonia Delau - nay. Care was taken to high - light the artifacts without compromising them. Exist - ing track fixtures were used throughout the galleries.
  10. 10. L LUCEGROUP212/ LOOK/MOVE SIGN & THE STAGELuce Group collaborated with Hands On! Inc. on several CLIENT: HANDS ON! INC. LOCATION: COOL STUFF, DISCOVERY PLACE, CHARLOTTE, NCexhibits in the new Cool Stuff gallery at Discovery Place inCharlotte, NC, a science center with the mission to engageand excite kids about the natural world.Luce first consulted on an undulating entry sign. The goalwas to find a simple way to create moving images across themultiple surfaces. Luce worked with HO! to assess theirfinancial and artistic goals. A theatrical light fixture with amoving textured ribbon was chosen: it creates a dynamiceffect while using only one metal-halide light source - asimple, energy and maintenance efficient solution. PHOTOS COURTESY OF HANDS ON! INC. A later addition to the scope was a presentation area for group demonstrations. As the area will only be used a few times a day, the design had to incorporate several different modes: not in use, pre-presentation and presentation. Hands On! Inc. designed a wall with a geometric pattern of holes. Luce helped turn this structure into a vibrant light box with LED lights and theatrical cues, which enable it to change color and pattern. It is low maintenance and long- life, as well. Luce also designed a simple layout of track light to illumi- nate the general stage and audience area, offering some flex- ibility of focus.
  11. 11. L LUCEGROUP2 12 / MAMMOTHS AND MASTODONS CLIENT: LIBERTY SCIENCE CENTER LOCATION: LIBERTY SCIENCE CENTER, JERSEY CITY, NJ EXHIBIT ORIGINATED AT THE FIELD MUSEUM Luce Group designed the Liberty Science Center stop of this exciting traveling exhibition, which origi- nated at the Field Museum. The exhibit tells the story of the mam- moths and mastodons, who roamed the earth approximately 1.8 million to 10,000 years ago. Housed in a rotating gallery approximately 7500 sq/ft, the exhibit includes life-size models, fossils, artifacts, media, and inter- actives. The lighting uses a mix of architec- tural and theatrical fixtures to high- light the artifacts and add interest to the gallery. Color and texture were used to help bring focus to the models and help tell their story. Moving fixtures generated the effects of water and the aurora borealis.
  12. 12. L LUCEGROUP2 12 / MOVING BEYOND EARTH CLIENT & EXHIBIT DESIGN: EXPERIENCE DESIGN A/V SYSTEM DESIGN: CEI ENGINEERS: CS CONSULTING ENGINEERS LOCATION: SMITHSONIAN INSTITUTION AIR & SPACE MUSEUM, WASHINGTON, DC 2010 ILLUMINATING ENGINEERING SOCIETY OF NORTH AMERICA DC SECTION GUTH AWARDLuce Group worked with Experience Design, CEI, CS Consulting Engineers, and the staff at the Smithsonian Air& Space Museum on the design phase of a new presentation center within the Moving Beyond Earth exhibit hall.The centerpiece of this gallery is a stage, which is used for exhibits, presentations, and live broadcasts on theSmithsonian website.The lighting needed to be easily adaptable. LED, conventional and automated theatrical fixtures were chosen fortheir flexibility of focus and range of color. Luce Group worked closely with the museum to specify a controlsystem that could be accessed locally and remotely and that had command over the theatrical and architecturalsystems in the room. Energy efficiency, integration with existing track inventory, and cost were also considered.
  13. 13. L LUCEGROUP212/ NEVER CAN SAY GOODBYE CLIENT: NO LONGER EMPTY LOCATION: FORMER TOWER RECORDS STORE, NYC “Never Can Say Goodbye” was an exhibit of over 20 contemporary artists in the former downtown Tower Records space. The artists, working in many different media, were inspired by memories of the store and the music of that era. The exhibit was put on by No Longer Empty, a non-profit group that creates public art exhibitions in vacated storefronts around New York City. The challenge presented by this temporary gallery was the need to use the available lighting equipment. Fortunately, track and metal halide fixtures were abundant, though creative focusing was still necessary. The existing fluores- cent fixtures, with the exception of the entry, which needed to look more “retail,” all had deep blue gel. This made the space more exciting and allowed the track fixtures to provide the necessary illumination for the art and walkways. Clip lights were used judiciously and theatrical fixtures were brought in to light the evening performances. Luce Group also created an installation piece out of found lighting and electrical equipment, which served the dual purpose of adding interest to the escalator and blocking the access to the second floor.
  14. 14. L LUCEGROUP2 12 / THE ART OF THE MOTORCYCLE CURATOR: THOMAS KRENS CURATORIAL ADVISOR: ULTAN GUILFOYLE EXHIBIT DESIGN: FRANK GEHRY LOCATION: GUGGENHEIM MUSEUM, VENETIAN HOTEL, LAS VEGAS As the lighting designer for the Art of the Motorcycle at the Guggenheim Museum at the Venetian Hotel in Las Vegas, Luce Group partner Traci Klainer was responsible for lighting over 100 motorcycles in an exhibit designed by well known architect Frank Gehry. Due to the complexity of the design - large photo-realistic images, numerous display cases containing themed ephemera, randomly placed video screens and the cavernous space - the lighting required a multi-faceted approach. Using both architectural and theatrical equipment, hung at a variety of heights and angles, Ms. Klainer carved out the individual objects while tying the disparate elements together. The Gehry walls and platforms - covered in finishes ranging from bold colors to mirror - were evenly and vibrantly lit. The motorcycles, and other forms of two-wheel transportation, emerged from these backgrounds, their lines and mechanics highlighted and sparkling. PHOTOS COURTESY OF THE GUGGENHEIM MUSEUM
  15. 15. L LUCEGROUP2 12 / A NEW LIGHT ON TIFFANY CLIENT: NEW YORK HISTORICAL SOCIETY CURATORS: MARTIN EIDELBERG, NINA GRAY, MARGARET K. HOFER EXHIBIT DESIGN: DAN SCHNUR Iconic lamps, mosaics and stained glass sparkled at The New York Historical Society’s groundbreaking exhibit A New Light on Tiffany, which celebrated Clara Driscoll and the Tiffany girls. Previously unknown, these women were responsible for some of the most recognizable Tiffany patterns and many of the products and documents they created were on display. Each gallery, painted a rich peacock blue, had a theme, from the life of the “New Woman” to the process of making a Tiffany lamp. Luce Group’s lighting seamlessly tied together objects as diverse as glass tiles, tools, clothing on manikins, a bicycle, sepia-toned photographic backdrops, framed prints, text and, of course, the many Tiffany decorative items and lamps, both standing and hanging. The challenge was that all of the lighting – object, case and walkway – emanated from the existing inventory and track. Instrument choice and focus were precise so items glowed yet the source was unobtrusive. Light levels were appropriate for 100- year-old letters and drawings while still carving out details on ceramics and metalwork. Luce Group’s “magical” lighting made an exhibit of exquisite objects that much more enticing.
  16. 16. ! !"#$%&"()*) +,,- ./01 -BBBCDEFGHIJEKCFJL 2&34$#5 45!! )-*) #!3$728 2957% 9$:7"&+9(79&8 ;57 #!$$< = 5&($!9 ;$7"$8 7$> :&? 5#5@$A: < 5&2 The 2012 Tribeca Ball, a festive interactive gala at the New York Academy of Art, was was sponsored by Van Cleef & Arpels with Robert De Niro as the honored guest. The benefit took place throughout the building, with party spaces and activities interspersed among the classrooms and studios, culminating in a gala dinner. Luce Group designed the lights to complement the event’s mask-like graphics and reflect the theme of the grand masquerade balls of the past. Color was used to great effect. Models with jewelry were lit to make the gems sparkle. Custom fixtures enhanced the bar spaces. And the dining room was cast in an evening glow.