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ARCHITECTURAL SSL • Chronicling the Advancement of LEDs in the Built Environment

Mies van der Rohe once said “God is in the details.” In the case of illuminating architectural façades, especially those of a historic or unusual nature, it’s been a task more easily said than done.

SSL BUZZ Color and shape continue to be redefined thanks to LED’s evolution; theater overcomes dimming issues; a look at SSL’s role in healthcare.

AT THE FRONT During daylight hours, buildings and structures can sometimes “hide” in plain sight; but at night new illumination ideas create PM drama.

SSL PROJECT Thanks to CBBLD’s vision, a former industrial facility is reborn into an award-winning, multi-purpose student center at Emerson College.

NUMBER 60 • FEBRUARY 2020 www.architecturalssl.com

EMERGING FROM DARKNESS

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BRIDGE TO THE LIGHT That’s the case no longer, as a “devil” that’s thwarted brilliant nighttime creations has been exorcised with 21st century tools and technology.

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Project: New York Investment Firm. Lighting Designer: SBLD Studio. Architect: Studios Architecture. Photograph: @Bilyana Dimitrova © 2020 USAI Lighting. All rights reserved.

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Stunning design. Remarkable acoustics. Introducing Audia—part of the new ACOUSTIX family of 9 luminaires. Thanks to the power of our patented EchoCoreTM technology, Audia outperforms competing acoustic luminaires by 30%. See and hear the difference at:

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31 Project Profile The design of London's Portsoken Pavilion intrigues with three distinguishing aspects.

BUZZ

PERSPECTIVES

07 Connected Lighting Lighting systems allows hospital to dial up healing.

05 LED Insights

08 Retrofit in Progress 35 Project Profile Assets Restaurant, NYC Former industrial space allows trendy diners to feast in a gilded homage to a bygone age.

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Integrating light and architecture at eSentire's new corporate offices. 09 Divine Illuminance D.C.'s Museum of the Bible aims to be one of the most technologically advanced museums in the world.

Overly illuminated LED highway produces a wry smile in this editor as he recalls things that "never" would be done. by Jim Crockett

48 SSL Observed A beacon of peace, Cologne Cathedral's unique light art exhibit lilterally urges solidarity. by SSL Staff

"Architects are more intrigued by lighting than they were a decade ago; it's evolved from simply a necessary building system that delivers a required funtion, to becoming a means to deliver on topics, trends and client desires driving their business."

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41

18

FEATURES

DESIGN & PRODUCTS

12 Taking AIM: Exterior Illuminance

39 White Pages Seeking intelligent lighting with luminaire level lighting controls.

Architectural Illumination Matters—so say we in this new feature exploring articulation of exteriors old and new. by SSL Staff

18 Topics at the Front: Outdoor Boundaries Today's manifold lighting technology is called into play and lighting becomes the drama that envelopes the users of parks, bridges and urban walkways, creating boundaries. by Vilma Barr

40 Advances Downlights, pendants, linear direct, decorative pendants, flood lighting, area lighting.

Architectural SSL, Vol. 14, No. 1 (ISSN# 1941-8388) is published four times per year by Construction Business Media. Publication Office: Construction Business Media, 579 First Bank Drive, Suite 220, Palatine, IL 60067; 847 359 6493; www.architecturalssl.com. (Copyright © 2020 by Construction Business Media) POSTMASTER: Send address changes to Architectural SSL Magazine, 519 East Briarcliff Road, Bolingbrook, IL 60440.

24 Featured Project: Setting a Multi-purpose Stage Boston's Emerson College took quick action to acquire an abandoned industrial building with the intention of converting it to a sophisticated destination as its Student Dining Center. by Vilma Barr

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NUMBER 60 • FEB 2020 www.architecturalssl.com Gary Redmond

Managing Partner Director Publishing Operations gredmond@cbmedia.us.com

Tim Shea

Managing Partner Director Business Development tshea@cbmedia.us.com

Dave Pape

EDITORIAL Jim Crockett 847 359 6493

Vice President Director, Art & Production dpape@cbmedia.us.com Editorial Director jcrockett@cbmedia.us.com

Taking AIM from the Dark Side It seems like eons since I penned a column for this publication—at least a quarter of a year—but it’s a shiny, and definitely, bright, new year, and decade for that matter. Where then, to begin—how about the highway?

of innovation, it’s a state that’s so much better than it was just a decade ago—I can’t even begin to articulate. Actually, I can, as witnessed in the forthcoming project snapshots, SSL’s evolution has allowed lighting designers to brilliantly highlight architectural details long lost in the flat flood of architectural illumination of years past. Thank goodness.

As I write this, we’re in the heart of darkness—at CONTRIBUTING EDITORS Vilma Barr Barbara Horwitz-Bennett Ellen Lampert-Greaux Chuck Ross

the composition of the magazine, as well. As the

You know what I mean, the season when it’s

world of lighting has changed, so has our per-

pitch-black at 4 p.m. … Driving home on one of

spective, and that of our readers. Most notably,

these soul-draining evenings, when biologically,

architects, today, I’ve observed, are much more

it feels like it’s 9 p.m., in the final stretch of my

concerned—at least intrigued—by lighting than

commute, I noticed the highway had become

they were a decade ago, in that it’s evolved from

significantly brighter. It was an outlook definitely

simply a necessary building system that delivers

in contrast to the grousing I regularly vocalized

a required function—illumination—to becoming,

Associate Art Director llenkowski@cbmedia.us.com

in traffic-choked commutes in summer months,

now, a means to address, or deliver on topics,

when I ranted to the traffic gods about dubi-

trends and client desires driving their busi-

Graphic Designer cha@cbmedia.us.com

ous lane closures and construction work on a

ness—matters like meeting the WELL Building

toll road that was completely rebuilt two years

Standard; balancing aggressive daylighting with

prior... But at that moment, it struck me that the

appropriate electric illumination; accenting and

summer traffic re-configuration had nothing to

highlighting materials, as well as spaces within

do with road work, but refitting light poles with

their projects; implementing lighting as a means

LEDs.

to deliver on the “experiences” clients and their

DESIGN & PRODUCTION Dave Pape Art Director dpape@cbmedia.us.com Lauren Lenkowski Christine Ha

This sea change marks notable changes in

least in context of the geophysical solar year.

ADVERTISING SALES Gary Redmond 847 359 6493 gredmond@cbmedia.us.com

Tim Shea 847 359 6493 tshea@cbmedia.us.com

Michael Boyle 847 359 6493 mboyle@cbmedia.us.com

Jim Oestmann 847 924 5497 joestmann@cbmedia.us.com

David Haggett 847 934 9123 dhaggett@cbmedia.us.com

Ted Rzempoluch 609 361 1733 trzempoluch@cbmedia.us.com

Jim Führer 503 679 5409 jfuhrer@cbmedia.us.com

Bob Fox 203 356 9694 bfox@cbmedia.us.com

Jim Morrissey 847 274 6482 jmorrissey@cbmedia.us.com

Granted the new lighting was a little too bright

Thus, what was our Market Setting Feature, is

could have eliminated three towers between each

transforming into the “Architectural Illumination

beacon—but the overzealous conversion, still,

Matters” piece, which will address lighting’s role

produced a wry smile, as I recalled a comment

in the aforementioned trends.

made at utility-sponsored workshop from at least

At the same time, the tone of “AIM’s” sister

a decade ago; there, highway engineers, categori-

feature, Topics at the Front, will begin to take on a

cally, rejected even entertaining the thought of

more purposeful product and technique focus, to

conversion to LED—not because of any of the

more clearly deliver on “the how,” as to how these

technology’s merits or deficiencies—but because

outcomes are being delivered.

they were afraid of potential litigation. Given the

SUBSCRIPTION INQUIRIES There is no charge for subscriptions to qualified requestors in the U.S. All other annual subscriptions will be charged $49 for standard delivery or $84 for air mail delivery. For subscriptions, inquiries or address changes, call 630 739 0900 ext. 100.

tenants or employees now seek as table stakes.

for my liking—the project’s engineers probably

And with this new decade, we’re also commit-

Superbowl-like brightness of the new illumination

ting to ramp up our controls coverage, as “White

scheme, it appears that fear has not dissipated.

Pages” too, gets an overhaul. I hope these tweaks

Contrast this no-brainer work to an e-mail I received the morning of this column’s concep-

better your reading experience as we all sail into what promises to be a new “Roaring ’20s.”•

tion, which contained a news item promoting a combination of LED and channel glass that was a means to celebrate the recently announced color of the year (classic blue for the curious). We’ve

A Publication of Construction Business Media

come a long way baby, but the journey is only beginning. This issue very much takes on a “light-by-

Member:

night” theme, but thanks to SSL’s current state

Jim Crockett, editorial director

SM

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EASY, CONNECTED LIGHTING SYSTEM ALLOWS HOSPITAL TO DIAL UP HEALING In the new wing of Protestant Queen Elisabeth Herzberge Hospital, or KEH, as it’s known in Berlin, in the new “Haus 100” section, patients are literally experiencing a “new day,” in the form of new lighting which better responds to their needs, especially in feeling better to heal. The new lighting system, LITECOM infinity from Zumtobel, has become a luminous assistant for both patients and staff, offering a professional way of regulating daily life in the busy hospital. Elegant light lines in the corridor areas guide staff, patients and visitors through the new building in a clear and logical manner. The SLOTLIGHT infinity luminaires are all connected—integrated sensors help the lighting react to presence and reflect the dynamics of daylight. As a result, lighting actively supports the natural human biorhythm and ensures maximum visual comfort, as the facility managers can use simple web applications to optimize the lighting, adjust basic settings and configure specific scenarios. Take cleaning, for example. With just a push of a button, the corridors are fully illuminated. Touch panels in the reception area allow intuitive individual operation, while hospital workers have the option to adjust illuminance levels and select desired lighting scene. In examination rooms, employing Zumtobel LIGHT FIELDS fixtures allow doctors and consultants to tailor the lighting to suit the particular situation. For KEH, a feeling of well-being, facilitated by good lighting in individual rooms, is particularly important for patients at the hospital. The process starts from the moment people enter the hospital, where at the registration desk, SEQUENCE pendant luminaires blend glare control and gentle light distribution, all the way to stairwells, which are illuminated with circular ONDARIA fittings. “Haus 100” has been planned ABOVE: The new KEH building in Berlin is shining example of well-conceived lighting. Employing Zumtobel’s LITECOM infinity lighting management system, staff are easily able control in the public areas of the facility and select preprogrammed lighting scenarios—or even configure individual settings—using handy touch panels.

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and realized to suit the precise needs of medical staff and patients; it is a place of work, but it is also quite clearly a place of well-being.•

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RETROFIT: ESENTIRE OFFICES

Integrating Light and Architecture When cybersecurity firm eSentire moved to its new corporate offices in Factory Square in Waterloo, Ontario. It took over two units of an existing industrial facility with tall ceilings and concrete floors. DFY Studio transformed the expanse breaking it up, in part, with lighting. “It had a significant role in our concept,” said Tahani Gunal, senior designer at DFY Studio. “We used it to connect our spaces visually and to enhance different zones on the floor plan.” With ceilings over 20 ft, the team sought lighting ABOVE: “With the black trim detail, the fixture has a beautiful sleek look that adds enough presence and illumination for the tall space,” says DFY’s Gunal.

powerful enough to illuminate the office, but not feel overly industrial. Gunal selected Luminis’ Prisma PR1682 as the primary luminaire for all open office areas.•

HEALTHCARE: HEARTFELT HOUSE

‘Comfort’ Applies to Lighting, and Food With families staying anywhere from two nights to a month, the design intent for Heartfelt House was to create a “home away from home” feel. 2fORM Architecture was responsible for developing the lighting scheme for these unique spaces, selecting several different A-Light luminaires to highlight the dramatic room designs. “The luminaires work very well to uplight rooms warmly and evenly so that the volume of the space is really appreciated,” says Richard Shugar, 2fORM principal.•

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THEATER LIGHTING: MUSEUM OF THE BIBLE

Divine Illuminance

“FROM THE BEGINNING, THEY KNEW THEY WANTED TO DO ALL LED, BUT WERE HESITANT BECAUSE OF DIMMING CHALLENGES.”

Near the National Mall in Washington, D. C., the Museum of the Bible invites visitors to engage with the Good Book. Aiming to be one of the most technologically advanced museums in the world, officials wished to create an immersive experience in its World Stage Theater, which is designed to evoke an ancient tent flapping in the wind. Fitted with high-output projectors that create seamless digital images across all surfaces in the space, it was critical that architectural luminaires did not interfere with the visuals; dimming was a concern, as was glare, says Josh Allen, formerly of TCC, and now with WHOCO Lighting and Controls. Ultimately, the venue selected GDS by ETC ArcSystem Pro One-Cell fixtures. “Because there’s a lot of undulation in the

ABOVE: With the ArcSystem Pro One-Cell luminaires, museum staff could adjust fixtures with the curves in the ceiling. ETC’s Paradigm system controls the lights.

ceiling, we needed a fixture that had a reflector cone to minimize the glare. GDS solutions have done that beautifully from day one.” •

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HISTORIC RENOVATION: NAVY PIER

HEADING INTO THIS NEW DECADE, IT’S GRATIFYING TO SEE THE POTENTIAL OF SSL BE REALIZED, AS SHAPE, COLOR, AND EVEN TEXTURE, ARE NO LONGER CREATIVE BARRIERS.

Flexibility Overcomes Hard Barriers Gensler, in adding a little spice to the new food

Not only did the company’s Plexineon White

court at Chicago’s historic Navy Pier, turned

1X 3500 offer flexibility, but the manufacturer

to custom-shaped, suspended luminaires from

worked with the architect to create a complete

iLight, particularly to deal with the various

suspension package and kit for each area,

columns running throughout the space that

which saved the contractor time, and the owner

once served as a warehouse, and even a training

money. The light source is available in lengths

facility for WW II pilots.

up to 151.2 lin. ft. The manufacturer will soon be offering matte white, matte gray and matte black luminaire sidewalls for the light source, along with matching clips as implemented at the entertainment venue.•

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ABOVE: iLight’s Plexineon custom-shaped, suspended luminaires transform lighting elements into a signature design statement.

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HOSPITALITY: CLUB FIFTY EIGHT

21st Century ‘Chandelier’ Transforms A sculptural “Cubic Sky” inside La Concha

of color and brightness individually. The “cubes”

Renaissance Resort, one of San Juan’s most

are networked together and utilize custom-built

iconic hotels, takes spatial design, sound and

software that visualizes data using a combina-

lighting to the next level. A full-ceiling, architec-

tion of graphic design, algorithms and anima-

tural installation, capable of creating electrify-

tion. Cubic Sky can generate natural, ambient

ing patterns and reacting automatically to live

patterns, react automatically to live music, or

music and programmed controls, Cubic Sky,

be controlled with a custom, tablet-based inter-

designed by Cactus, from hundreds of individual,

face, which allows DJ’s and hosts to adjust light

custom-made light boxes, combines architecture

patterns and create ephemeral and bespoke

and technical innovation for a jaw-dropping

experiences.

display. Cactus was charged with transforming

During the day, subtle changes in light color

club Fifty Eight inside La Concha from an under-

and brightness create beautiful ambient pat-

used space into a must-see design destination.

terns in the room. In the early evening, the

Using the latest innovations in digital technol-

colors of the sunset are reflected by the light

ogy and architecture, each light box of the

colors and natural patterns on the ceiling, evok-

“chandelier” is capable of creating a wide range

ing the beauty of the surrounding area. •

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ARCHITECTURAL ILLUMINATION MATTERS

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ARCHITECTURAL ILLUMINATION MATTERS

ILLUMINATING ARCHITECTURAL DETAILS

EYEING ARCHITECTURE IN A NEW—AND IMPROVED—LIGHT By Jim Crockett

One of the best things about the maturation and greater availability of LED has been its impact on architecture, especially on historic structures. Because of technological innovations relating to size, articulation and power distribution, no longer do great buildings at night have to be illuminated only by powerful flood lights that tend to make such edifices flat and uninspiring.

Architecture lives! As an

annual awards, the Kimpton

terracotta façade whose

appropriate send off to

Fitzroy Hotel’s re-illumi-

complexity rivals the build-

the first decade of the 21st

nated façade in London,

ing’s palatial interior. Light-

century, fans of both light-

the association’s Radiance

ing the exterior required

ing and architecture were

Award winner. Following is a

a design as complex as

blessed with an abundance

showcase of additional win-

the architecture itself, but

of terrifically illuminated

ners, and others, embracing

restrained enough to high-

projects that delivered new

this evolving approach to

light, rather than muddy the

nighttime presence and

outdoor illumination.

individual features.

Kimpton Fitzroy

output and high-output

appreciation for so many great buildings.

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A combination of low-

Take a bow, LED. After

In creating a new nighttime

fixtures were used to

finally settling into place,

expression for the hotel, the

balance intensity. These

creative designers, now,

London-based design team,

effects were considered

can fairly easily articulate

Lighting Design Internation-

both from the perspective of

as many building details as

al, showcased a composition

the entire building, as well

they wish—budget provid-

that engenders a warm

as on each individual level.

ing. No more prominent

and intriguing entrance.

The hotel includes mul-

an example of this trend is

The historic hotel, notes

tiple tall features from the

the chief winner of IALD’s

IALD, features a thé-au-lait

two towers that frame the

ARCHITECTURAL SSL • 02.20 • 13

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ARCHITECTURAL ILLUMINATION MATTERS

Kimpton Fitzroy

Location: London, England

main entrance, to columns throughout. For the ground-level columns, 10W 10° uplight fixtures are used, while the first-floor balconies are uplit by 7W 10° fixtures. Turrets and corner domes are washed by 10W 9° x 59° linear grazers to throw light upward. The design features heavy shadowing against the tiling, adding drama for streetlevel viewers. IALD judges noted that the project exhibited a “restrained elegance,” a tribute to the incredible architecture designed by Charles Fitzroy Doll in 1898. The 19th-century architecture conceals fixtures, as to not distract from the rhythm of the lighting scheme, or the building itself. Lighting effects are repeated across levels in part because of the limited viewing angles, due to the trees and other buildings, in the neighboring park. To strengthen the visual frame of the building, each window reveal includes 1.7W 12° highlight fixtures aimed at the corners. Lights are positioned to ensure they do not spill into guestrooms. Acknowledging the landmark, multiple street-level additions are included to entice and surprise passersby. Detail lighting emphasizes the columns, coats of arms, shields and door reveals. Rather than overwhelm, the project demonstrates how a monolithic building can be “made beautiful and simple with thoughtful considerations,” commented one IALD judge. “It is about lighting the key elements, as well as selecting elements not illuminated, providing beautiful layering of light.”

Cathedral of Light Not to be outdone by the English, Italians too, are doing incredible things with their landmarks. In Milan, whose city center has developed to become a symbolic location for international shopping, has not forgotten its architectural gems. Luxury boutiques and shopping arcades surrounding its historic cathedral, in recent years, began to get the upper hand in competing for the attention of passersby. That, however, was not going to be stomached by Ferrara Palladino Lightscape. “Our aim was to give back to the cathedral its position as a focal point of the piazza,” says Pietro Palladino, lighting designer. Radiating a light that’s symbolic of the whole city, Palladino points out it’s an important landmark for the entire region, as its façade of the 

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 INVITING INTRIGUE The light’s effect on the warm terracotta offers guests and admirers an opportunity to see the depth and dimension of the features as the strategically placed uplights and highlights combine to create dramatic shadows and points of interest.

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ARCHITECTURAL ILLUMINATION MATTERS

Duomo di Milano Location: Milan, Italy

 PRECISION, NOT MASS LIGHTING Projectors with particularly narrow and precise light distributions are required to effectively illuminate a building of this size in a densely built-up urban space, without having a negative impact on the immediate surroundings.

cathedral tells many stories—from teachings and

up on the cornice of neighboring buildings. On

dogmas of religion, to the saints, and even the

the cathedral itself, its most important statues

entire history of Christianity. This “educational”

were illuminated from bottom to top—a task that

function, he says, is once again ensured by the

required nearly 600 LED projectors. “A large part

new illumination. Illuminance levels between 70

of the lighting had to be solved by an asymmetri-

and 100 lux enable the details of the building to

cal luminaire arrangement,” explains Palladino.

be more clearly defined. The 4000K light color,

“The mounting locations were predetermined

says Palladino, enhances perception of the Can-

by the obsolete lighting, and sometimes located

doglia marble interspersed with various shades

in very high positions, and therefore, were dif-

of pink-grey.

ficult to access,” says the designer. “We had to

modified in terms of protection class, mounting

deal with distances of up to 120 meters between

brackets and the color of the housing to match

Monumental Radiance Without Spill

the mounted luminaires and the illuminated

the marble. With their slightly conical shape,

Projectors, with particularly narrow and precise

surfaces on the façade.”

and relatively compact, round housing, Gecko

light distributions, are used to illuminate the

The task was solved with projecting lighting

fixtures fit between the finely modeled tower

massive structure built up in a dense urban

technology based on ERCO Spherolit lens prod-

spires, almost completely concealed from the

space. “A good lighting concept doesn’t need

ucts. In addition to high photometric precision,

eyes of visitors. To ensure glare-free illumina-

masses of light, but rather precisely applied,

specially developed mounting brackets were

tion of the paths and stairways on the roof ter-

high-quality illumination,” says Palladino.

needed, as the luminaires were only permitted to

races, heavily frequented by visitors, Focalflood

be installed in the joints between the individual

façade luminaires were installed a few centi-

specified glare-free ERCO Lightscan and Gecko

marble blocks, but not in the marble itself. For

meters above the ground on the inside of the

projectors, modified to the special requirements

glare-free accentuation of the Gothic verticals

cathedral walls.

of the project. Dividing lighting into three differ-

and pinnacles on the roof, the lighting designer

ent heights, Palladino created zones below the

opted for an “ERCO individual” variant of the

ing dropped nearly 40% to 35kW, opposed to

existing masts around the building, and further

Gecko. These compact projectors were also

its previous 58kW power consumption. At the 

For the new exterior lighting, the designer

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The connected load of the new exterior light-

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ARCHITECTURAL ILLUMINATION MATTERS

Amorepacific Headquarters Location: Seoul, South Korea

SHIMMERING STAR  Arup offered a design that turned the building into a glowing lantern, while allowing for multiple light atmospheres. IALD judges noted it was a welcome change to bring back the retro design of lighting to complement exposed concrete with LED.

same time, the cathedral is illuminated with

nature to all areas of the building. The three

approximately 40% more light thanks to a higher

large incisions in the building indicate the soft

illuminance of around 90 lux overall.

boundaries between nature and urban spaces, between inside spaces and outside spaces.

BACK TO THE FUTURE  The project explores the possibilities of innovative lighting design within historic spaces, while yet remarking on the cultural characteristics that linger in a reactivated space.

Amorepacific Headquarters

While the upper office floors are supplied with

On the other side of the spectrum, both geograph-

light from the atrium, their external façades

ically, and architecturally, in Seoul, South Korea,

serve multiple functions. The lamella cladding

Arup Deutschland created a shimmering night-

is designed in four different formations and

scape glow for the headquarters of Amorepacific,

arranged in multiple combinations to limit direct

bridge that arches across the barn, emphasizing

an IALD Award of Merit winner.

exposure to the sun, preventing glare and over-

the rich spatial relations of the local granary and

heating while also providing optimum views. At

the rice barns in the region. The bridge utilizes

sively lit buildings in the city, the Amorepacific

night these façades generate the subtle effect

flexible linear luminaires hidden in the handrails

Headquarters shimmers in the evening light,

that gives the building its unique shimmer.

to provide functional lighting for visitors while

In stark contrast to many other more aggres-

also reflecting the arch of the bridge in their

more subtly aglow. The Arup team offered a design that turns an unobtrusive building into a

Of Rice Barns and Exhibition Halls

glowing lantern. Their scheme allows for multiple

Staying in Asia, but with a structure much more

atmospheres within a single system, fitting the

historic in nature, the lighting for Exhibition

esting experiments in lighting, surface materi-

multi-use nature of the building. IALD judges had

Halls and Workshops of Rice Barns in Wuzhen,

als and aesthetics. Within the granary itself,

high praise for the project, stating that the design

Zheijiang, China, by the School of Architecture of

linear luminaires hide in the equipment slots to

was “a welcome change [bringing] back the retro

Tsinghua University and One Lighting Assocs.,

illuminate the walls, directing the eye toward the

design of lighting to complement exposed con-

Beijing, explores the possibilities of innovative

ceiling. This soft light focuses the visitor on the

crete with modern LED technology.”

design within historic spaces.

original roof’s silhouette, an acknowledgment of

Amorepacific Headquarters emphasizes the

According to IALD, the design really remarks

own shape. Recent renovations to the site allow for inter-

the past still lingering in the present. The accent

use of natural light, first and foremost, with its

on the cultural characteristics that linger in

lighting system operates within the original

inner courtyard that lends light and a sense of

the reactivated space, which features a glowing

building structure rather than creating new

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Rice Barns

Location: Wuzhen, Zheijiang, China

Altar’d State

ARCHITECTURAL ILLUMINATION MATTERS

Location: Tigard, Oregon

construction that might detract from its vintage air. This allows for a scheme that creates light atmospheres best aimed for visitor enjoyment. A clear roof in the exhibit hall allows for maximum daylight. For cloudy days, there are

 STATE OF GRACE Gothic-style windows, topped by an illuminated geometric frieze, combined with patterned semi-transparent windows with vertical, horizontal and curved accent strips, add to the play of exterior patterns.

six groups of dimmable linear luminaires placed in the cavity of the lower roof, controlled by light sensors to ensure consistent exhibit lighting. The project took home an IALD Award of Merit.

minated geometric frieze. Patterned semitransparent windows, with vertical, horizontal

Classically Inspired

and curved dark accent strips, add to the play of

Finally, back here in the United States, innova-

exterior patterns.

tive retail lighting design is helping the U.S. keep

discovery throughout the space, guiding the

115 women’s retail boutiques occupying 4,000- to

customer through the store’s displays of apparel,

5,000-sq.-ft. sites in 30 states. Facing the chal-

accessories, home décor and gifts.

lenge of a rapidly changing retail environment,

accents, greenery and specialty plaster, comprise

to create different—really unique—visual and

the individualized functional and decorative ele-

shopping experiences at every location, from the

ments of the architectural and display elements.

façade, all the way to the product displays.

The high-ceiling space above the main selling

greater Portland area, the architect, Ghafari, Inc., created a distinctive façade of six slender gothic-style windows, each topped by an illu-

2002SSLAIM02.indd 17

Custom stained-glass, chandeliers, copper

the chain’s owner recognized the necessity

For the store opening in Tigard, Ore., in the

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Inside, Ghifari’s layout provides flow and

pace with this trend. Altar’d State is a chain of

floor features chain-enclosed lighting fixtures and hundreds of faux butterflies. From this brief trek around the globe, lighting looks to be in good hands.•

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TOPICS AT THE FRONT

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TOPICS AT THE FRONT

By Vilma Barr, contributing writer

LIGHTING THAT BECOMES OUTDOOR BOUNDARIES Lighting for interior spaces and illumination for the outdoors share many of the same visual and emotional messages. People perceive light in the built form with boundaries established by walls, floor, and overhead covering. Outdoors, the surface underfoot is solid. Less defined are walls, supplied by trees or foliage or the horizon, or structural setbacks. Overhead, by contrast, the sky, is virtually limitless. “Light Up the Sky”, a stage work by playwright Moss Hart, followed its characters through scenes that were dramatically dark. Then, all changed, as the goals they had striven for were realized, and they knew they had—in essence—lit up their lives. With a different comparison, outdoor spaces can hide their story line during the day. That’s when today’s manifold illumination technology is called into play and lighting becomes the drama that envelopes the users of parks, bridges, and urban walkways, creating boundaries.

C

Niederhafen River Promenade Location: Hamburg, Germany In the aftermath of storm surge floods in 1962 that caused 315 fatalities and destroyed the homes of 60,000 residents, between 1964 and 1968, Hamburg developed a barrier on the banks of the Elbe at Niederhafen to protect the city against floods. Modern hydrology and computer simulations calculated a barrier height of 0.80m was required to protect Hamburg from future winter storm surges. Situated on top of the barrier, the city’s promenade provides views of the Elbe and the port. Zaha Hadid Architects were commissioned to redevelop the promenade in concert with the barrier’s expansion, and better connect it with

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the surrounding urban fabric of the city. Wide staircases resembling small amphitheaters are carved within the barrier, giving passers-by at street level views of the people strolling along the promenade at the top of the barrier as well as views of the masts of ships in the Elbe. Pedestrian areas of the are clad in a dark, anthracite-colored granite that contrasts with the light grey granite of the staircases. Alternating with these city-facing stairs, similar amphitheaters facing the river are also carved within the structure; generating an oscillating sequence in the river promenade as it repeatedly widens and narrows.

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TOPICS AT THE FRONT

D In the book, Made of Light—The Art of Light and Architecture, by lighting designers Mark Major and the late Jonathan Speirs, state that the observer’s “…visual experience and emotional reaction is shaped by the control of light and shadow.” To these, they add such aspects as “source, color, movement, space, boundary, scale, image, and magic.” To experience the transformation of daylit outdoor spaces into the added perceived dimension supplied by light is an accepted daily phenomenon. Continued on page 22

C

Celebrate With Light

Location: Longwood Gardens Kennett Square, Pennsylvania with nightly shows that feature choreographed colorful LED water displays to music, reaching a height of 175 feet. A total of 380 fountains were installed as part of the master plan. Electricity for 50 percent of the gardens is produced by solar panels, with the balance furnished by hydroelectric power plants. Landscape architect was West 8; lighting designer was L’Observatoire International Lighting.

“LIGHTING TELLS US WHAT TO LOOK AT, ORGANIZES THE VIEW, AND MARKS IMPORTANT ELEMENTS, OFFERING SUBSTANCE AND REASSURANCE TO THE USER IN THE EVENING ENVIRONMENT.”

Photos: Courtesy, Etienne Fossard

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Photos: Noah Devereaux, Courtesy, West 8

Founded by Pierre S. du Pont in 1907, the 1,077-acre Longwood Gardens is recognized as one of the world’s outstanding gardens that is open to the public. Centerpiece of the site is the 92-year-old Main Fountain Gardens, which has undergone a redesign that blends tradition and contemporary technology. The elegant panorama of the illuminated pathways, fountains, and stage come into full play

Provide Wayfinding Within an Urban Landscape

Location: Brooklyn Bridge Park Brooklyn, New York

Once denied access to the East River shoreline, the residents of Brooklyn now have use of the 85-acrepark. Landscape architects Michael Van Valkenburgh and lighting designer Domingo Gonzalez Associates collaborated on transforming the former industrial site into an esplanade, meadows, walkways, sports fields, pavilions, play areas and public art installations. Bollards separate open planted spaces with graduated steps.

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TOPICS AT THE FRONT

Create a Public Space Location: The High Line New York City

Acknowledged as an outstanding example of a successful public/ private urban enterprise, the High Line, a former railway spur on Manhattan’s West Side that was threatened with demolition, has been turned into an artfully landscaped and illuminated pedestrian walking amenity and a revitalized commercial corridor. Self-grown grasses and flowers emerge from old tracks and old ties. James Corner Field Operations, Landscape Architects; L’Observatoire International, Lighting.

Photos: Courtesy, City of New York

Restore a Village Green

Location: Pulaski Park Northampton, Mass. Pulaski Park is an authentic representation of the City of Northampton in central Massachusetts, combining its history, culture, and values. Occupying 2.5 acres in the center of town, the design by landscape architects Stimson with the guidance of the city engineer, the final layout fulfilled the residents’ requests for a plaza, green space, play area, and gardens. Overhead, suspended bare lamp fixtures mark the social gathering space.

Photos: Ngoc Doan, Courtesy, American Society of Landscape Architects

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TOPICS AT THE FRONT

D

Continued from page 20

Legendary lighting designer Richard Kelly expressed his “elemental kinds of light” that are as relevant today for illuminated interiors and outdoors spaces as when he conceived them in 1952. “It can suggest the freedom of space and can suggest infinity.” Of accent lighting, he cited that by exciting the optic nerves, it “… in turn stimulates the body and spirit, quickens the appetite, awakens curiosity, sharpens the wit.” Kelly notes that lighting tells us what to look at, organizes the view, and marks important elements, offering substance and reassurance to the user in the evening environment.•

Define a Destination Location: Elizabeth Quay Brisbane, Australia

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illuminate the main expanse of the roadway. Their cut-off design related to the structure’s architecture, provides glare control for pedestrians and for the operators of maritime vessels on the river below. In-ground uplights and floodlights invite use of the canopied seating structure.

Photos: Courtesy, Ethan Rohloff

Over 3,000 pedestrians and cyclists daily use the New Farm Riverwalk, a half-mile-long and 21-ft-wide bridge connecting the community of New Farm with Brisbane City Center. Arup Lighting specified LEDs for highquality optic distribution. Postmounted street and area fixtures

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open air elements to create an innovative lighting tool. Combining decorative with performance elements, the ambient down light is supplemented with a high-performance indirect light source. Available in a range of white or RGBW outputs, the fixture can be controlled as a complete unit, or in independent 4-inch sections. An elegant yet powerful building block, Space can be installed as a single fixture, in continuous runs, or in custom shapes to fit any environment.

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F§ATUR§D PRoj§Ct

Emerson College Student Dining Center Boston, Massachusetts Architecture: Elkus Manfredi Architects Lighting Design: Cline Bettridge Bernstein Photos: Courtesy, Cline Bettridge Bernstein (Photographers: Peter Vanderwarker, McDonald Electrical Corp.) Text: Vilma Barr The Challenge: When an adjacent former industrial building became available next to Emerson College’s downtown Boston campus, the school took quick action to acquire it with the intention of creating a sophisticated destination for dining, studying, instruction and performance. The Solution: In the adaptive reuse program developed by architects Elkus Manfredi and lighting designers Cline Bettridge Bernstein, for the Student Dining Center, architecture and lighting work in tandem to emphasize a dramatic theme. The designers took advantage of the ribs of the structure and LED to create illuminated outlines giving the effect of prosceniums. Lensed linear fixtures and pendants create a series of frames and an illusion of depth that visually divides the length of the two-level space.

Setting a Multi-Purpose Stage

It would capture its central urban

of a former industrial facility to

location and status as a leading

meet Emerson’s objectives was

Competition to attract the best

resource for communications and

Elkus Manfredi, the architectural

and the brightest to institutions of

the performing arts. Now occupying

firm that restored several of Emer-

higher learning is part marketing

18,000 sq. ft., the center provides

son’s other downtown performance

and part educational focus. Loca-

seating for 550—a 50% increase in

and entertainment facilities,

tion and social activity options also

capacity compared to the previous

including the Paramount Center

rank high. When Emerson College

dining hall. Additional spaces for

and Cutler Majestic Theatre. Cline

President Lee Pelton established

classrooms, rehearsal, and studio

Bettridge Bernstein was selected

a goal to restore and renovate

and production facilities have been

as the project’s lighting design

122-124 Boylston Street and 19

included as part of the school’s pro-

consultants. ”The creation of this

Boylston Place, he commissioned a

grams in communication and the

new facility marks the College’s

permanent new student facility for

performing and liberal arts.

urban identity and establishes its

dining with expanded social spaces.

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Charged with the adaptive reuse

location as the center and the main

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portal to the urban campus,” stated 

LIGHTING INTEGRATION

Existing architectural elements of a former industrial building in downtown Boston that is now Emerson College’s Student Dining Center were integrated into the lighting program. Linear fixtures articulate supporting wooden arches with alternating ceiling-hung fixtures.

2002SSLFEA.indd 25

at Willamette University, Colgate

Wesley Emerson, a pioneer in

University and Dartmouth College.

ceremonies. “It creates a sense of

the teaching of natural methods

Pelton has implemented his vision

place and enhanced identity for

of expression, Emerson College

for Emerson as a global educational

the College on Boylston Street.

operates campuses in Boston,

resource for arts and communica-

The surrounding area is animated

Los Angeles, and Kasteel Well in

tion. He initiated a plan to strength-

and vibrant, benefitting not only

the Netherlands. Its student body

en Emerson’s sense of identity

Emerson College, but Boston itself,”

numbers 3,750 undergraduates and

by animating the streetscape in

he emphasized. “With its location

750 graduate students from across

the downtown core to emphasize

in an urban, downtown core setting

the United States and overseas

Boston’s creative diversity. Pelton

across from the Boston Common,

countries.

was involved in the partnership

we are a visible symbol of intellec-

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Founded in 1880 by Charles

President Pelton at the opening

Lee Pelton is Emerson College’s

between the College and a live

tual and entertainment diversity,”

twelfth president, serving since

theater producer, Ambassador

says Pelton.

2011 following executive positions

Theatre Group (ATG), to operate 

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the Emerson Colonial Theatre, a

Elizabeth Lowrey, a principal at

open staircase. Seating is available

downtown Boston performance

Elkus Manfredi concurs. “It’s really

on both elevations. During warm

venue that provides fellowships

about creating community and con-

weather, students can also take

and internship opportunities.

nections, and drawing students out

advantage of outdoor seating.

of their rooms to be with others,”

A Functional Hub A core element to Pelton’s vision

she believes. As Lowrey describes, “The din-

A small multifunctional stage in the lower level is used by students for evening and late night café-style

was to make the Emerson facility

ing center is more a compelling

performances and rehearsals. Kitch-

“the coolest, hippest and most com-

café with little resemblance to a

ens and service stations are on the

pelling destination downtown,” The

traditional dorm cafeteria.” Tables

lower elevation.

Student Dining Center is located on

and booths are used for dining,

two above-ground elevations, each

studying, or hanging out in a casual

prised of Francesca Bettridge,

measuring 50 ft. x 100 ft.; entry

environment featuring exposed

Michael Hennes and Nina Wat-

is either from Boylston Street or

brick walls, visible ductwork

tenachote. They collaborated with

from 19 Boylston Place, adjacent

and steel beams. Connecting the

the Elkus Manfredi architects to

to the existing Walker Building.

interior spaces is via a two-sided

establish a theatrical theme to

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“THE CREATION OF THIS FACILITY MARKS THE COLLEGE’S URBAN IDENTITY AND ESTABLISHES ITS LOCATION AS THE CENTER AND THE MAIN PORTAL TO THE URBAN CAMPUS.”

CBB’s design team was com-

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Section Drawing Courtesy of Elkus Manfredi Architects

the adaptive reuse of the former

Factory to Theater

with 6-in.-diameter PAR38 fixtures

industrial building. “As in a the-

Abstracted prosceniums are created

with cross baffle, from Lighting

ater, where the lighting imparts

from the ribs of the structure’s for-

Services Inc. and Green Creative,

expression to the staging of the

mer life when it housed a product

are painted to match the ceiling

performance, color, dimension and

fabricating operation. In the first

and mechanical elements. A wide

character add to the architectural

floor and lower level dining area,

double stairway connects the two

forms,” Bettridge said. For Emer-

3 in. x 30 ft.-long, lensed fixtures

levels.

son’s Dining Center, she states that

and pendants by Axis are 3000K,

its lighting, whether integrated

4.3 W/fixture. By alternating the

in the corridor directs users to

into the architecture or brought

placement of linear fixtures, a

the combined lounge, café perfor-

forward as feature elements,

series of frames like contempo-

mance area. The verticality of the

defines and emphasizes the activi-

rary stage outlines is created, and

lighting fixtures changes to circles

ties taking place by the students

with the suspended version of

and curves in the lounge. Custom

as the featured actors in their own

the fixtures, an illusion of depth

4-in.-wide LED hoop rings with opal

spontaneous performance.

divides the length of the space.

direct lens at the bottom have LED

Pendant-mounted tracks fitted

sparkle points at the side. Ring

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 A CONNECTION IN TIME

Totaling 18,000 sq. ft. and seating 550, the Dining Center’s two levels are connected by an open staircase. The upper level, designed for daytime use, connects to Boylston Street and Boston Common; the lower level provides an informal multi-use environment throughout the day and evening.

Vertical recessed wall lighting

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radii vary from 21 ft. to 6 ft. Sup-

transmitted across the surfaces are

pliers were Winona Lighting and

changeable and interactive. Light-

Tokistar Lighting.

ing programs can imitate clouds or

For performances and other entertainment and educational events, student stage managers can

clear skies in this popular and heavily used underground space. Bettridge summarized her team’s

utilize monopoint mounted 4-in.

translation of President Pelton’s

diameter, 20W, 3000 LED adjustable

vision for a lively and stylish gath-

fixtures, from Lighting Services Inc.

ering place center that can serve a

CBB designers incorporated wall

variety of Emerson student needs

and ceiling planes into the color and

throughout the day and evening

illumination to expand the environ-

hours. “The lighting transforms the

ment’s integrated technology and

spaces to create a venue that is flex-

aesthetics. Overhead, luminous tex-

ible and expressive of the school’s

tile ceiling fixtures are interspersed

distinctive interactive spirit.” •

among the hoops, Video feeds

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LUMINAIRES AND LIGHTING FIXTURE DETAILS:  • First Floor and Basement Dining: 3” wide x 30’ long linear lensed fixture pendant and custom mount between wood panels, AXIS, 3000K LED, 4.3W/LF, 0-10V dimming • First Floor and Basement Dining: Pendant-mounted track with 6” diameter PAR38 fixture with cross baffle, LIGHTING SERVICES INC., & GREEN CREATIVE, 3000K LED PAR lamp, 17W, INC dimming

• Basement Lounge: Custom 4” wide LED hoop rings with opal direct lens at bottom and LED “sparkle” points at sides, WINONA LIGHTING & TOKISTAR LIGHTING, 3000K, 4W/LF Direct, 1.6W/LF Sparkle LED, ring radii vary from 21’ to 6’., 0-10V dimming • Basement Lounge: 60’ x 10’ Luminous Textile back-lit panels with color chaining LED video contents, PHILIPS, RGB LED, 5.1 W /sq. ft., with PC for Video content manager and Ethernet network to link to control system • Basement Lounge: Monopoint mounted 4” diameter LED adjustable fixture, LIGHTING SERVICES INC., 3000K LED, 20W, 0-10V dimming

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A ROUND STRUCTURE IN A SQUARE PLACE PORTSOKEN PAVILION London, England

The design of London’s Portsoken Pavilion has three distinguishing aspects that contribute to the accolades it has been collecting.  Adaptive reuse: Eliminating a major traffic roundabout to create a public meeting destination anchored by a functional example of architectural sculpture  Urban design: Design of a symbol of contemporary structural innovation that expresses the various period facades surrounding it  Integrated lighting: Installation of concealed overhead lighting system that creates softly stepped glowing layers The city of London, also known as the Square Mile, is the historic financial district where corporate skyscrapers tower above the vestiges of medieval alleyways and all forms of thoroughfares in between. To make way for the new Elizabeth Line of the public transport system, Aldgate Square was created from a 50-year-old complex of spaces above and below ground, repurposed with modern infrastructure. Capping it is and the Portsoken Pavilion, a striking example of British architecture and engineering. In this urban setting, Make Architects assembled a team that included lighting designers from AECOM to deliver a pavilion that would have an aesthetic relationship to the City of London Information Centre. The result was the Portsoken Pavilion, a name derived from one of London’s 26 wards. Within this area designated as Aldgate Square, surrounded by historic religious and educational buildings, Make gave the new hub a singular visual identity that makes its impression with both form and function.

ABOVE: A former vehicular roundabout was closed to traffic by the City of London Corporation and the space turned into the new Aldgate Square with the Portsoken Pavilion as its centerpiece. The large overhangs of the Corten steel roof are oriented to the sun for shading. The illuminated soffit picks up on the external geometry.

Contrasting Anguarlity The resemblance to a supersonic airliner in choice of material, the sharp angularity of the Pavilion’s roofline, and the spill of interior light,

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SSLProfile:

PORTSOKEN PAVILION, London, England

THE CHALLENGE: With imminent arrival of the Elizabeth Line addition to the region’s public transit system, the City of London Corporation prioritized the construction of the infrastructure and the passenger stations along its route. For the new Aldgate Square station to serve the area which is one of the world’s major financial centers, it would need to communicate a distinctive visual message. City management was aware that businesses make location decisions based on the quality of the public realm that they can offer to attract and retain quality employees. THE SOLUTION: Make Architects proposed a signature structure that would be both a contrast to the typical facades of the surrounding twentieth century commercial buildings, and the nearby structures of historical significance. They chose Corten steel, which would develop a surface color relationship to the existing Information Center had been designed a few years earlier by Make and is located adjacent to St. Paul’s Cathedral and to the Foundation Primary School. A unifying theme was created between the interior lighting pattern and the repetition of the roofline peaks. LED ceiling strips are positioned in a gradual stepped layered pattern to subtly respond to the strong architectural statement of the exterior.

ABOVE: The circular outline and the pointed roof of the pavilion are in contrast to the planar façades of the surrounding buildings. A dominant interior design feature is the slated white wood ceiling highlighted by LED linear fixtures. Stairs leading down to back-of-the-house facilities were created from spaces formerly utilized as pedways.

gives the impression that the entire structure

following the architectural form. They wash the

is about to lift-off vertically. Presenting intrigu-

perforated ceiling with soft light, producing deli-

ing views of the interior through the full-height

cate stepped glowing layers. Led by lead designer,

sliding glass wall enclosure, the 2,690-sq.-ft.

Cohao Yu, AECOM developed specifications of

PROJECT CREDITS:

single-story structure contains a café and

high output and efficacy the lamps provide the

Lead Project Architect: Sean Affleck; Make Architects

multifunctional community space. Described as

ambient light to the space with indirect lighting

Awards:

a monocoque, a French-derived word referring

only where the reflected surfaces are limited due

• New London Awards 2019 Winner - Wellbeing Prize

to its single shell structural skin, the pavilion is

to the acoustic perforation.

• Selwyn Goldsmith Awards for Universal Design

formed by asymmetrical Corten steel cladding

2019 Winner

panels anchored between three triangular sup-

over the central counter to incorporate natu-

• Civic Trust Awards 2019 Winner - London

port points.

ral light into the building. Mini spotlights that

• Building Awards 2018 Shortlisted - Small Project

Make Architects assessed the key pedestrian

Two large asymmetrical roof lights are located

are placed at the perimeter of the roof create a

of the Year

approaches to the new square and as such,

supplementary glow on the counter, serving to

Lead Lighting Designer: Cohao Yu; AECOM

their pavilion has no backside. The resulting

blend daylight and artificial light. Each group of

Photographer: Martina Ferrera; Make Architects

clear views and entrances on all sides, a seam-

lighting elements is individually controllable.

less transition between inside and outside, are

Adaptive reuse was also applied to the sur-

marked by the overhanging metal roof. Inside,

rounding underground space that included an

the contrasting illuminated bright white interi-

abandoned tunnel used by pedestrians who had

ors appear to make the structure float.

to get safely from one side of the roundabout to the other. New back-of-the-house facilities, the

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Fantasy and Function

kitchen, and toilets were installed here, along

A movie set-like effect is produced at dusk by

with passive heating and cooling regulators

concealed LED linear strips arrayed continuously,

directed by low-energy VRF units.•

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A PAINTERLY APPROACH GILDS MANHATTAN DINING EXPERIENCE ASSET New York, NY

Asset’s artistic interpretation of architecture and lighting brings a vintage building to life. With a checkered history of manufacturing, entertainment and retail, the location for Asset, one of Manhattan’s newest restaurants, became a variation on architectural archeology for the firm of Bates Masi + Architects. According to architect Paul Masi, they literally sought to “excavate the existing space in search of unique textures and hints of the past that would enrich the guest experience.” The “excavation” was joined at its inception by lighting designer Greg Friedheim, president of Miami-based Radiance Lighting, who had previously served as a consultant to the architects, as well to as the owners, Will Tracy and Larry Bellone; the latter also operate Tessa, a popular Mediterranean restaurant nearby. Closely following the progress of the architects’ 3D scanning of the existing building, Friedheim planned the illumination program. Vaults of expanded metal lath were discovered above the fire-rated ceiling. They became an exposed element serving multiple functions. Structurally, they would conceal steel girders, supporting the hanging elements of the sculptural stair, bar shelves—and for Friedheim—functional and decorative light fixtures. Two Dining Levels Utilizing the exposed ceiling height of 18 ft., the designers created a bi-level interior with a palette of wood, metal and stone. The street-level area is anchored by a sculptural brass bar, while an upstairs balcony has a smaller bar, and seat-

ABOVE: In Manhattan’s Upper West Side, a pair of New York restaurateurs converted an existing light industrial

ing for just over 50.

structure into “Asset.” The new dining destination was created to attract the neighborhood’s visually designaware and discriminating diners as well as guests from surrounding areas. Excavation revealed successive layers of paint and a hidden vaulted ceiling, which now gives the restaurant a distinctive historical personality.

trial use of the ceiling vaults as a distinctive, but

Architect Masi expressed the original indusclassic, overhead design element. With concealed LED linear strip lighting from Lumini, Friedheim

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SSLProfile:

ASSET, New York, NY

THE CHALLENGE: The owners of Asset, located in a classic Upper West Side neighborhood in Manhattan, also operate a successful restaurant nearby. They spent a year searching for a site that would be both convenient to residents and visitors. At 329 Columbus Avenue, between 75th and 76th Streets, they took possession of a building with interior spaces that could be adaptively redesigned to provide the atmosphere that would appeal to its intended market. The objective was to differentiate Asset from the area’s casual restaurants patronized by families and older locals, into a venue that also reflected a downtown energy to draw a younger group on both weekdays and weekends. THE SOLUTION: Architects Bates Masi + Architects and lighting designers at Radiance Lighting collaborated from the inception of the planning process that required that the building be gutted. It had served, among several other uses, as Memphis, a 1970s celebrity gathering spot, and as a retail store. For the adaptive reuse, the lower dining level can accommodate 145, while the 56-seat upstairs balcony can double as a private party space. Lighting is strategically integrated into the architecture. Overall, the effect resembles a painterly approach to architectural illumination, balanced and forming a vision where users are part of the visual composition.

ABOVE: Oak paneling was revealed through careful removal of layers of wall coverings, and add to the character and richness of the space. Radiance Lighting established primary visual lighting pattern levels that succeed in contributing to the unified contemporary expression of the architecture.

dramatized the front-to-back rhythm of the dark

the ceiling. The mesh guardrail and balustrade

PROJECT CREDITS:

painted ceiling with soft, glowing accents. Above

are suspended from horizontally oriented steel

Lighting Design: Radiance Lighting

the bar, Friedheim created a mid-level visual pat-

wide-flange girders which support the vaulted

Architect: Bates Masi + Architects

tern of illumination with pendants from Zangra,

metal ceiling. Another luminous pattern stands

suspended with black cords, each containing

out in relief of the dark background with lighting

Photographers:

3.5W LED lamps. Placement of each fixture was

mounted from beneath the treads; the soft glow

Courtesy, Bates Masi + Architects

integrated with the curves of each vault to unify

is visible from the side of the staircase and by

Text: Vilma Barr

the architecture with the contemporary require-

looking up from the main dining level.

ments of an elegant urban restaurant. Friedheim and his designers were mindful

To contrast with the vertical and horizontal geometry of the primary architectural elements

of the light level at each table top to allow for

and their complementary lighting patterns,

ease of menu perusal by older guests. Above the

uninterrupted bands of lighting fixtures were in-

free-standing tables and booths are 13W LED re-

stalled to introduce a floating image to the main

cessed downlights from Zaniboni that highlight

bar area.

table surfaces. Subtle dim spaces between them

Asset’s owners evaluated the final product as

give a feeling of individuality within the open

“approachable,” certainly meeting their goal to

interior vista.

bring a new level of hospitality design and “vibe”

The two levels are joined by a U-shaped

to the Upper West Side.” •

double-steel staircase that echoes the curves of

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Luminaire Level Lighting Controls: Intelligent Lighting Q&A with Chris Meek, Associate Professor of Architecture at the University of Washington

As the commercial lighting industry continues its steady move toward

the pieces—ideal for an owner who wants to retrofit their building but

more advanced controls and lighting solutions, for many experts, all

maybe doesn’t have the budget to do it all at once. And because LLLCs

signs point to networked lighting controls. And when it comes to truly

are a unique, self-contained luminaire control system you don’t have

intelligent, flexible lighting with non-energy benefits, the future could

to go in and do a comprehensive controls upgrade to install them.

be Luminaire Level Lighting Controls (LLLCs). A subset of networked lighting controls, LLLCs include integrated sensors and control in each

What are your favorite uses right now for LLLCs and why?

fixture. We spoke with Chris Meek from the School of Architecture

Offices are a great example: productivity and flexibility are key, and

at the University of Washington to discuss the future of the lighting

therefore providing advanced controls is too. LLLCs can be regrouped

industry, what you need to know about LLLCs and the big potential for

on the fly with just some programming controls. They will also be

cost savings with regional utility incentives. Meek’s 20 years of experi-

durable, but easy to take down and reprogram if you need to adjust.

ence has focused on energy efficiency, daylighting and controls.

I’ve also heard some compelling cost cases in schools. Schools have complicated lighting controls to meet requirements for things like fire

LIGHTING CONTROLS AREN’T NECESSARILY ON THE RADAR SO ARCHITECTS NEED TO WORK TO BETTER UNDERSTAND LIGHTING TECHNOLOGY AND HOW IT CAN BETTER SERVE THEM.

alarms and notification systems, especially in main corridors. That means running a lot of low-voltage cable and other hardware and wiring. Using LLLCs in classrooms allows a school to consolidate and simplify its central control system to common areas. It’s a straightforward but impactful simplification.

efficiency just through the transformation of LEDs. From an energy

When it comes to installing LLLC systems, we hear a lot about non-energy benefits and the growing cost savings potential with utility incentives. What do you see as the top reasons for specifying and installing these systems?

efficiency standpoint, a lot of future savings will come from the

Cost and flexibility. You can reconfigure and reprogram the way that

improvement of existing buildings: there’s a lot of poor quality, ineffi-

you control an LLLC system locally, with wall switches and other

cient lighting out there in the wild. Buildings that were built more than

controls. But I think the real benefit is that you don’t have to rely on a

five or six years ago are ripe for LED retrofits and controls retrofits,

built-up control system from a lighting control panel. You just install

and therefore new energy efficiency savings.

the fixtures and, right out of the box, they’re already commissioned

Where do you see the lighting industry headed? That’s a big question. I think a lot of progress has been made in energy

There’s a lot of interest in the relationship between light and health,

for daylight sensing and for vacancy or occupancy sensing. Having the

and in the ways that lighting impacts human wellness. We’re starting

ability to hang the fixture that immediately meets code without touch-

to look at how daylighting can help support the effective entrainment

ing anything else in the building can mean a huge cost reduction.

of the circadian rhythm, or your body’s natural sleep-wake cycle. I think that trend will to continue for the next decade or more. In the near term, we’re going to see continued innovation in the form and capability of fixtures. When LEDs first came out, the goal

You’ll also benefit installing LLLCs in spaces where you’re not certain about configuration, or in spaces that you expect to change frequently. Whenever you simplify something, reduce labor for set-up and installation, and make future upgrades easier.

was to emulate existing lighting technology. I think the next step is rethinking the look, feel, application and size capabilities of LED fix-

What advice would you give to architects who are still hesitant about

tures. And we’re already starting to see more low-profile and elegant

considering an LLLC system in their next project?

fixtures being developed.

Lighting controls aren’t necessarily something that architects would have on their radar, so my advice would be that architects work to bet-

What do you want people to know about LLLCs?

ter understand lighting technology and how it can serve them. What

They’re really flexible and adaptable. They’re plug-and-play: you can

I think they will find is that LLLCs end up serving their purposes best.

just hang them up, energize them, and immediately they’ll meet code

That goes for retrofit spaces in particular, but also for new construc-

and be super energy-efficient. Plus, they can be installed in parts and

tion where downstream flexibility is critical.•

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Product Introductions

Versatile Track The 48V Pista magnetic track system, from Belgian manufacturer Modular Lighting Instruments, can be surface-mounted, suspended or recessed, with track in three lengths and black or white finishes. In addition to available linear light modules, the system also offers multiple accent-light spot fixtures. Field-cuttable covers can hide the track’s inner workings for a more streamlined look.  Visit www.supermodular.us or Circle 238.

Integrating lighting into architecture can create lively spaces with an air of artfulness, and enhance an occupant’s overall wellness.

1 Edge-y Approach The square-shaped Edge pendant—along with the circular Orion pendant—gets power over its suspension element, eliminating the need for a separate power cord. The Meteor Lighting fixtures are available in power line, stem and cord suspension designs, as well as in surface- and wall-mount options, with lumen packages ranging from 1,200 lm to 4,000 lm.  Visit www.meteor-lighting.com or Circle 237.

2 New Direct/Indirect Option Focal Point has expanded its Seem family of area luminaires with Seem 2 Direct/Indirect fixtures in suspended and wall-mount designs. Choose from individual units, continuous runs or patterns, all of which can be ordered in 1-ft. increments.  Visit www.focalpointlights.com or Circle 236.

3 Adaptable by Design The ADAPT pendant series from Tivoli Lighting offers designers options for each element in the fixtures’ design, including the pendant, socket, light engine and globe.  Visit www.tivolilighting.com or Circle 235.

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Product Introductions

Linear Thinking The Pavo 2” Horizontal fixture from SPI Lighting projects illumination in 360 degrees throughout the entire length of its lens. Power is delivered over the suspension cables for a cleaner look, and magnetized end caps make continuous runs easy to form. Designers can choose from three color temperatures, with 0-10V dimming standard, down to 1%.  Visit www.spilighting.com or Circle 234.

A building’s quality of light can translate into a positive experience for a building tenant or visitor.

4 Get High Everline LED Round High Bay luminaires from Universal Lighting Technologies bring light to commercial settings with ceiling heights greater than 20 feet. With available light outputs of 21,000 lumens and 28,000 lumens, the 150W and 200W fixtures replace traditional 400W and 750W HID units.  Visit www.unvlt.com or Circle 233.

5 Cubic Geometry WAC Lighting’s new Cube family of ceiling and wall downlight fixtures is available in ceiling-mount, wall-mount and pendant models, all sharing a minimalist, squared-off profile. All are exterior-rated and offered in four color temperatures.  Visit www.waclighting.com or Circle 232.

6 Connect the Dots – and Slots Slots & Dots is a 48V track lighting system from Amerlux with a broad range of magnetic lighting modules in recessed , surface- and pendant-mount styles. Light attachments include accent track heads, a pendant accent and four linear options.  Visit www.amerlux.com or Circle 231.

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Product Introductions

Spot-On Performance The Spec6 track spot fixture from Bruck Lighting produces 380 lumens in a precise 6-degree beam. Specifiers can choose from color temperatures of 3000K or 3500K, in either black or white finishes, with mounting designed for ECO single-circuit track.  Visit www.brucklighting.com or Circle 230.

The Cherry Blossom pendant is LightArt’s interpretation of those blooming trees clustered to create a glowing banquet.

1 Beautiful Blooms The Cherry Blossom pendant is one of six new fixtures included in the third volume of LightArt’s Botanical series of luminaires. They can be hung as single pendants or in clusters, with floral-shaped shades from 3form’s Varia Ecoresin material.  Visit www.lightart.com or Circle 229.

2 Keep It Clean Hubbell Lighting’s new SpectraClean technology uses High Intensity Narrow Spectrum (HINS) light to provide antimicrobial disinfection along with general ambient and task illumination. The fixtures feature schedule- and sensor-based controls, and can be specified in multiple lumen packages.  Visit www.hubbelllighting.com or Circle 228.

3 It’s Got Glass The streamlined design of the Rondel semi-flushmount fixture from Tracy Glover Studio highlights the beauty of the glass shades, available in a broad range of colors and patterns. Metal canopy bases also can be specified in a number of finishes, allowing many customization opportunities.  Visit www.tracygloverstudio.com or Circle 227.

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Explore

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Case Studies

Highlighting the products, materials, and systems behind the architecture. No other editorial source prioritizes the architectural solutions that are enabled by products. Beyond the metrics—R-value, U-value, kWh—product choices can transform architectural spaces, and real-world ‘proof-of-use’ case studies offer insight into ‘proof-of-performance’ realities.

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Stay current with the product, material and system developments that are shaping design. These brief, relevant, editorially-written and curated items keep you on the forefront of architectural advancement.

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Timely and relevant. Editorial that follows the trends shaping architectural advancement, from resiliency, material transparency and design assist, to high-efficiency and net zero buildings.

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Product Introductions

Spritely Pendant The Kodama pendant is named for a Japanese wood sprite, and its handblown glass panels certainly feature a fresh-from-nature appeal. Designed by Derek Marshall Lighting, the fixture is 9-in. tall by 5-1/2-in. wide and is available in a broad range of glass colors and patterns.  Visit www.derekmarshall.com or Circle 226.

To experience the transformation of daylit outdoor spaces into the added perceived dimension supplied by light is an accepted daily phenomenon.

1 Retro Appeal 2nd Ave. Lighting has expanded its Art Deco-influenced Jayne line of fixtures with a new 10-in.-wide Jayne sconce. The ADA Compliant fixture features, as standard, a cylindrical diffuser in White Textrene, with upper and lower diffusers in Statuario Idalight.  Visit www.2ndave.com or Circle 225.

2 Sleek Silhouette The profile of the Slope exterior fixture features a 9-degree angle that narrows to less than an inch at its thinnest point. Designed for by Sam Hecht and Kim Colin from the London firm Industrial Facility, it is offered in the U.S. by Landscape Forms. It can be specified with any of three power outputs and multiple asymmetric distribution types.  Visit www.landscapeforms.com or Circle 224.

3 Low Profile, High Output The low-profile Flood One EO from Acclaim Lighting provides an output of 3,940 lumens while drawing only 55 watts. The white LED floodlight is IP66 rated for wet locations and is available in four color temperatures, with 0-10V dimming.  Visit www.acclaimlighting.com or Circle 223.

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Product Introductions

There’s an App for That MX Downlighting with Beam Wireless Optical Control adds new adjustability and customization to the Intense Lighting family of downlight fixtures. With the company’s Beam app, users can remotely control both beam and intensity, via Bluetooth wireless technology. Optic angles also can be adjusted from 14 degrees to 55 degrees without having to physically change out fixture optics, and output can be dimmed down to 0.1%.  Visit www.intenselighting.com or Circle 222.

According to the DOE, downlights are a staple of residential, hospitality and commercial lighting, usually providing ambient illumination, but sometimes focal lighting.

4 A Slimmer Profile EarthTronics’ 4-in. and 6-in. Slim downlights can be installed in finished drywall or architectural tile ceilings and can be used to retrofit existing recessed downlight fixtures. The fixtures also are rated for wet locations. Color temperatures are chosen from one of five settings, ranging from 2700K to 5000K.  Visit www.earthtronics.com or Circle 221.

5 New Approach to Linear Thinking The E-Series downlight joins the FLIN Series of fixtures from Nora Lighting. The 4-in. and 6-in. models feature thin, round lenses with sharp baffle cuts that reduce aperture brightness, with no required housing. A tunable-white color temperature switch allows for onsite color-temperature selection.  Visit www.noralighting.com or Circle 220.

6 Driver Brings Tunable White Options The latest addition to Lutron’s T-Series driver family will bring color-tuning capabilities to downlights. The new driver can control up to 50W, controlling fixtures that operate with color temperatures between 1500K and 6500K.  Visit www.lutron.com or Circle 219.

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PLEASE ANSWER ALL QUESTIONS 1) What best describes your firm? (select only one) ___ 1 Architectural or A/E ___ 2 Lighting Design ___ 3 Interior Design ___ 4 Owner / Developer ___ 5 Lighting Manufacturer ___ 6 LED Manufacturer ___ 7 Lighting Representative ___ 8 Contractor ___ 9 Distributor ___ 10 Utility / Municipal ___ 11 Other (specify) _________________________________________

2) What best describes your job function? ___ 1 Architect ___ 2 Engineer ___ 3 Lighting Designer ___ 4 Interior Designer ___ 5 Product Designer ___ 6 Contractor ___ 7 Manufacturing / Technical ___ 8 Sales / Marketing ___ 9 Purchasing ___ 10 Financial ___ 11 Management / Executive ___ 12 Other (specify) ________________________________

5) What are the types of projects your firm is involved in? (check all that apply) ___ 1 Civic / Museum / Gallery ___ 2 Education ___ 3 Institutional ___ 4 Entertainment 4) What best describes your firm’s intentions regarding ___ 5 Healthcare Solid State Lighting? ___ 6 Hospitality / Hotel / Resort ___ 1 Currently specify products using SSL sources ___ 2 Intend to specify SSL products ___ 7 Casino ___ 3 Purchase and/or install luminaires with SSL products ___ 8 Residential/Condo ___ 4 OEM that produces luminaires incorporating SSL products ___ 9 Retail / Restaurant ___ 5 Purchase SSL products within an OEM ___ 10 Industrial ___ 6 OEM intending to add SSL products in future offerings ___ 11 Utility / Municipal ___ 7 OEM that packages LEDs for use in other products ___ 12 Outdoor / Landscape ___ 8 Other (specify) ______________________________________ ___ 13 Other (specify) ____________________ 3) How many are employed by your firm? ___ 4 25 to 99 ___ 1 1 to 5 ___ 5 100 or more ___ 2 6 to 9 ___ 3 10 to 24

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Wishing Peace for the Next 100 Years A beacon of peace, and a signal against hatred and hate speech, Cologne Cathedral’s end of WWI anniversary illumination urges human solidarity. Winner of the 2019 German Lighting Design

moving typography, and chose to accompany

Award in the category of light art,“Dona Nobis

the visuals musically with excerpts from Luigi

Pacem”—Grant us Peace—a moving light projec-

Cherubini and Bach’s B Minor Mass. In order to

tion on Cologne Cathedral, by German designers

make the effect of the projection into the space

Westermann Kommunikation, and media artists

tangible, Westermann arranged for the word

Detlef Hartung and George Trenz, commemo-

sculptures to include cultural projects, which

rated the 100th anniversary of the end of the

represented the topic of peace in 12 languages.

first world war.

A total of 150,000 visitors, many with candles in

The most important prize of its kind in Ger-

hand, attended the staging over five evenings.

many, the projection, which could be seen on

The combination of the projection, and the

the south façade of the cathedral (lower left),

natural light of the candles, created a festive, yet

was envisioned by Helmut M. Bien and Angelika

dignified, atmosphere.•

Kroll-Marth of westermann kulturprojekte. The firm developed staging for Roncalli Square, the destination of a major peace pilgrimage in 2018. A couple years prior, the square was the site of another special New Year’s Eve “hope” lighting event (below and right), visually illuminating concerns of the citiy’s citizens, but this was the first time in the history of the cathedral, that a thematic production was allowed on the façade. The lighting team, which included Lang Media Technology on the installation side, produced projections based on the shock experiences of the war that communicated yearning for peace. Hartung and Trenz work exclusively with

PEACE BE WITH YOU The task was to create a temporary memorial room, which would combine the memory of WWI, and the future, to strengthen social cohesion.

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