Luminous 17 - Advanced Lighting Design

International Lighting Magazine 2016/17 Spring Issue

Urban lighting: from digital media to modern light A façade in Paris, the city of Ávila and the town of Veghel

Lighting design’s future role

Discussions with Paul Traynor, Neil Skinner and Tapio Rosenius

Advanced lighting design

EDITORIAL Welcome to this edition of Luminous The pace of change in the world continues to quicken and our world of light is no exception. The possibilities of light becoming more than just illumination are increasingly becoming a reality. There are many examples, but is the opportunities are particularly visible in projects like Waterpark Place. where connectivity is used to deliver benefits to the occupants in a way that would have been inconceivable only a few years ago.

All this is of course within the challenging constraints of minimizing the effect on the environment. One wonderful way by which lighting can take a lead role is by becoming the carrier for other services.

In this edition of Luminous, we investigate how lighting designers are responding to this changing world by talking to Tapio Rosenius, Neil Skinner and Paul Traynor about their view of the future. Tapio Rosenius shares interesting predictions about how his studio could look like in 10 years, introducing a whole new skill set alongside that of the traditional lighting designer.

We also look at the work of the Dutch master Godefridus Schalcken, who was famous for using candles as the source of light in his paintings. I believe that any student of lighting would benefit from looking at his work and that of other painters who used light in such a special way. These masters understood the fluidity of light and how it interacted with their subjects. To understand their work is to understand light itself. And working on an exhibition of Schalcken’s paintings really felt to us like having a masterclass in light…

Then we focus on outdoor lighting. This has always been an area where the imagination can flow as we set ourselves the task of reinventing the night-time landscape with light.

Whether it be in a city like Veghel where light is being used to power the renaissance of the local community, or on the island of Kea where we experiment with light without any boundaries, light extends our days beyond darkness.

All of us at Luminous suggest you take inspiration from the images on these pages and challenge yourself to find inspiration beyond just illumination, and that you set yourself the task of changing people’s impression of the world they live in, a world that is beyond light. Enjoy!

Pierre-Yves Panis Head of Design, Philips Lighting

colophon published by | Philips Lighting B.V. – High Tech Campus 48, 5656 AE Eindhoven, The Netherlands – www.philips.com/luminous editor in chief | Vincent Laganier steering committee | Merran Wrigley, Mike Simpson, Nigel Chadwick, Matthew Cobham editing | Ruth Slavid graphic design concept | one/one Amsterdam printing | APS Group B.V. ISSN nr | 1876-2972 12 NC 3222 635 70377 cover | Air Traffic Control Tower, offices and meteorological building, Kutaisi International Airport, Georgia, RCA - Architect: UNStudio photo | © Primo Exposures more info | luminous@philips.com

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© Barbara Artemis Constantinou

© Barbara Artemis Constantinou

Right: Church Agia Triada Below: Archangel Michael

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ADVANCED LIGHTING DESIGN FEEDBACK

DIALOGUE LIGHTING DESIGN’S FUTURE ROLE

Discussion with Paul Traynor, Neil Skinner and Tapio Rosenius

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ONLY CONNECT

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Internet of Things to Internet of illuminated things

CONNECTIONS AT WORK

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MASTER OF CANDLELIGHT

LIGHT IN FLIGHT

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RETHINK THE NIGHT

Cisco headquarters, Waterpark place, Canada

Airport lighting design, Dubai, Georgia, Japan, United States

Schalcken exhibition, Wallraf Richartz Museum, Germany

Island of Kea, Greece

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ARCHITECTURE WITH ART AND DIGITAL

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FROM THE DARK AGES TO MODERN LIGHT

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RETAIL REVIVAL

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Vérone, Vente-privée building, France

City of Ávila, Spain

Town of Veghel, The Netherlands

© Barbara Artemis Constantinou

PROJECTS

CONTENTS GALLERY5 55

DISCUSSION WEBINAR WITH THE LIGHTING UNIVERSITY

Lighting design’s

future role

By Ruth Slavid

“I think there is an inherent trait in a good designer that they’re really focussing on who is going to use the space...”

Paul Traynor

In partnership with the Philips Lighting University, we are happy to present an innovative series of discussion webinars that has been set up with Luminous magazine. It will feature interviews with leading thinkers and practitioners in the world of lighting. In this episode, three innovative lighting designers were interviewed in London: Paul Traynor, Neil Skinner and Tapio Rosenius.

1

Ruth Slavid

Topic: the future of lighting design’s role in the industry. Enjoy it.

1 Could you tell us who you are and what you think the core competency of your company is?

Paul Traynor: I have a practice called Light Bureau. We've been established for 17 years and work in lots of different sectors.

We are quite small, we've got an office in Oslo with one guy and in London we are eight people.

We regard ourselves as being creative and resourceful. We like to design very leanly; we don't like to put too much product into things; we curate very carefully. We regard ourselves as being artisans of light; we craft it.

Neil Skinner: My practice is much more straightforward and pragmatic about creating and providing solutions for our clients.

Called SKR Lighting Design, we've been running for about three and a half years. Before that I worked in the lighting industry for about 21 years, working with some manufacturers.

8 PLATFORM

I’m proud that I've gained knowledge from every sector within the industry. I’ve worked at the high end with some high-level architects on international projects and I've also worked at the contractor end of the market where life is very hard and very difficult, and I’ve seen both ends of that spectrum.

Tapio Rosenius: I'm a partner and founder of Lighting Design Collective, which is a multi-disciplinary practice within lighting.

Everything we do is lighting related but we employ software developers, digital artists, as well as lighting designers and now also researchers, strategists, sociologists. In that sense we are trying to reinvent a little the role of lighting designer in a project.

2 What are the skills that somebody coming into lighting design should have?

Paul Traynor: They should have a high level of empathy. You really do need to be able to listen and you need to be able to extract information from people. I think there is an inherent trait in a good designer that they're really focussing on who is going to use the space, how they're going to use the space and interact with it.

Neil Skinner

3

“We have to become the design thinking leaders.”

Top: Paul Traynor Bottom: Tapio Rosenius

4

Tapio Rosenius

3 We want to talk about all the digital developments that are happening and what impact that's having on lighting.

Tapio Rosenius: The industry at the moment is, from my perspective, about 30 years behind. They are not giving us the tools that we need. So we need to reinvent our own tools. But what's interesting about it is, because of this digital infrastructure, lighting is going exactly the same way as, for example, the music industry did. It will be this instant skill strength where everybody can do lighting and everybody will do lighting. So what's left for us?

4 What are the biggest challenges for you working today?

Neil Skinner: We are trying to provide high-end solutions using the best technology for best practice for our clients but the majority of the electrical contract community is still working to regulations which are effectively ancient. And 95% of them don't get it.

They just don’t understand the compatibility between products, light sources, dimmers - everything that we specify every day.

Tapio Rosenius: I think the big challenge for us is to become more relevant than ever or possibly, as a discipline, die. Through research, through things like humanistic or technological research collaborations, we have to become the design thinking leaders.

For example, we were asked to do a standard façade lighting project for a hotel client in Madrid and, through our design process, essentially turned it into a social media integrated branding device for them that then allows them to tell their story, which represents their values and which also becomes essentially a digital landmark for them.

Paul Traynor: I'm really aware that lighting design has become something that is easy to replicate, as a non-expert. How much better a properly crafted result would be, where someone has really put some effort into it and designed more intelligently than just getting a book and exploiting techniques, is quite difficult to quantify.

PLATFORM 9

“The lighting world drifts into the multimedia world.”

5

Paul Traynor

Neil Skinner

Neil Skinner

5 Are you going to have to work with new partners, as lighting becomes integrated with other systems in the building? Are you going to bring new skills into your practices and become wider, or are you just going to collaborate with even more consultants than you are at the moment?

Neil Skinner: If I'm working on a large scale – on a big retail project with large-scale multimedia systems for example, talking about the lighting world drifts into the multimedia world - and it all has an effect on the surrounding illuminated area. Bringing together all the right skills to mesh together for a useable project is a difficult thing to do and still very experimental in terms of getting all the right people doing the right things in the right way.

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6 How is BIM – Building Information Modeling working for you?

Paul Traynor: We've had it for about a year and a half. We’re just beginning to explore the possibilities. I love the idea of coordinating the issues out of the design before it actually becomes a construction project, and then all the backtracking and redesign that goes with those problems. I think we'll all be using it all the time.

Neil Skinner: We’re prepared for making the leap at the end of this year. We have to be in that competitive environment.

Tapio Rosenius: It's coming through as legislation. So it's just a tool like a screwdriver. Now we need to use that one; it's just another CAD.

6

Tapio Rosenius

“I think our relationship as a design community needs to change completely with the manufacturing community.”

Tapio Rosenius

8 Neil Skinner

7 How much do you think that the work of lighting designers influences manufacturers, or alternatively how does this work the other way around?

Neil Skinner: Some manufacturers don't listen to a word you say.

Some do. It really comes down to the people who you're dealing with within those particular manufacturers at that moment and how open minded they are.

Paul Traynor: Sometimes manufacturers come out with a killer product that you just think, we definitely want to use that, it's great.

And generally it's not going to be something which looks good, it's going to be something that just gets tucked away into the fabric of the interior or the architecture. It just does a job. Those are the products that we think are great.

Tapio Rosenius: I think the manufacturing industry is in a crisis now.

It's because they have been commoditised. I think our relationship as a design community needs to change completely with the manufacturing community if it's to become essentially a co-design collaboration which is a real co-design, real collaboration with real incentives and not a prescriptive model.

8 In the immediate future, I'm interested to see who else you think you're going to be taking into your practices in terms of skills and competencies. And also, what will your jobs will be like in 10 years' time?

Tapio Rosenius: If everything goes perfectly, in 10 years' time I would be running a multi-disciplinary design office with a very solid design methodology.

PLATFORM 11

Neil Skinner: It’s about keeping it fresh, bringing in new and interesting ideas. And being open to change and looking at projects in different ways.

Paul Traynor: I'm not looking to radically change our offer.

I still regard what we'll be doing as lighting design.

I think that we will still be doing it and we'll be doing it to a very high level.

Learn more

Watch the complete recording of the interview on Philips Lighting University channel: youtu.be/24cVJrQdQJg

Neil Skinner: I think it's an industry that's never boring.

It's always challenging, always interesting. Every day is different.

Websites www.ldcol.com www.lightbureau.com www.skrlight.com www.philips.com/lightinguniversity

SILO 468, Helsinki Lighting Design Collective Tapio Rosenius is the partner and founder of Lighting Design Collective in 2009.

LDC specializes in customized architectural lighting solutions and applications with a uniquely integrated portfolio covering cutting-edge services such as digital content creation, software development and innovative design strategies.

They are a multicultural team of lighting designers, software coders and digital artists that has created world-class projects in more than 20 countries.

Yellow Pavilion, London Architect: Hall McKnight Lighting designer: Light Bureau

They work worldwide with architectural design partners and clients who value the innovative application of lighting design & technology, integrity and a collaborative working style.

Resourcefulness and creativity are central to Light Bureau’s philosophy – what they regard as their core essence of Light as Craft.

© Luke Hayes

© Luke Hayes

© Luke Hayes

Light Bureau is an award-winning lighting design & consulting studio based in London & Oslo. Established in 1999

by Paul Traynor, it specializes in strategic light consulting, project design & delivery and product development.

Brinkburn Priory SKR Lighting Design SKR Lighting Design was set up by Neil Skinner in 2012. It provides a balanced philosophy of highly creative and technical lighting design consultancy services, from “Concept to Completion”.

Their experience has been built up over 21 years in the UK and across the international lighting design industry. SKR provides a wide range of lighting design services from small residential extensions for individual private clients to giant shopping malls in international locations.

PLATFORM 13

Š Darius Kuzmickas, KuDa Photography

CISCO HEADQUARTERS, RBC WATERPARK PLACE III, TORONTO, CANADA

Connections at

work

By Ruth Slavid

Workers in an office building in Toronto are benefitting from the implementation of the ‘Internet of things’ to make their environment more enjoyable and effective.

An office building in Toronto, Canada has become a showpiece for the way in which ‘connected lighting’ can offer much more to building occupants than was previously possible. Some 1400 luminaires in the building are connected using Power over Ethernet (PoE+) which enables them to gather data that can then change the user experience and the energy usage of the building in ways that were not previously possible.

This means that lighting and the HVAC system (Heating, Ventilation and Air Conditioning) can respond to the presence and movement of people in the building, both saving energy and making it a more pleasant place for people to work. Carbon dioxide sensors, for example, feed back to the HVAC system, ensuring that there is always an adequate supply of fresh air.

On what kind of building would one trial such a system?

The approach is the result of collaboration between lighting pioneer Philips and converged IT network expert Cisco Systems, so it is appropriate that this transformational project has been installed in the Canadian headquarters of Cisco in Toronto. Cisco worked with the owner of the building, Oxford Properties, on the development and application of these new approaches, since they have obvious benefits for use more widely in the future.

The building, RBC Waterpark Place III, is a 30-storey tower with retail below, and is the one such development in the city to receive LEED Platinum accreditation, the highest level of approval from this benchmark US environmental performance standard.

Designed by WZMH Architects, the building has features that include sun-deflecting glass fins, a green roof and deep water cooling from the nearby Great Lake. It has a converged fibre ‘backbone’ running through the building. It is also connected to the city’s new PATH system, which provides a sheltered route for pedestrians to use during the bitter Canadian winters.

Builder Ellis Don was responsible for the design and construction work for Cisco. Stephen Foster, managing director of its information, communication, automation and technology group, said, “We have shown how data can be applied to building systems to provide real value.”

What this means in practice is that the luminaires on the four floors of the building occupied by Cisco act as portals to data, energy saving, sustainability and personal comfort. Each luminaire has a unique IP address, allowing to be monitored and managed on an individual basis. The sensors in the luminaires capture data which the building managers can then use to manage the building in the most effective way, both financially and for user comfort.

CONNECTED LIGHT 15

Carbon dioxide sensors ensure that there is always adequate fresh air

In terms of the lighting, the sensors allow each light to assess levels of daylight coming through the windows and reduce power levels and brightness to complement the natural lighting. Cisco employees in the IoE Innovation Center are also deploying across the organization individual smart phone app control, to turn lights on or off, or to dim them. With this approach, light switches on the wall may become a thing of the past. Foster believes that these lighting controls will, in the long run, result in a reduction of power use of 40 to 48 percent – in addition to the energy savings that LED already offers.

Multiple sensor platforms also have a part to play in the fresh-air ventilation which forms part of the building’s HVAC system.

Occupancy lighting sensors combined with smart phone WiFi triangulation complement Carbon dioxide sensors in return air ducts to determine the occupancy of rooms. All that data is passed to the building automation system, which determines true dynamic occupancy and estimates fresh air intake levels to ensure air quality in real time.

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Other elements in the office which are of increased sophistication are the elevators, which are controlled not from within but externally.

This means that when a user signals the floor to which they wish to travel, an appropriate elevator will arrive and take them to their floor.

This results in significant energy savings.

There has been talk for several years about the “Internet of things” and of connecting elements in a building in an intelligent way.

To a large degree this has been just talk, but this office shows how the approach can be implemented in a way that is not gimmicky but actually results in a better place to work.

In the end that is what matters. The most important investment an organization makes is not in its buildings but in its people.

William MacGowan, Cisco’s director for smart building digitization, said, “A pleasing workspace with personal control within it means we can attract and retain the best talent. Our system is one of the key elements to attracting the next generation of workers.” Perhaps we should be talking about “the Internet of People”?

© Darius Kuzmickas, KuDa Photography

Client Oxford Properties

Construction Builder Ellis Don

Investors CPPIB, OMERS

Electrical & Mechanical engineers Hidi group

Bailer Cisco Architect WZMH Architects Interior architect HOK

IT Infrastructure Cisco Connected lighting for offices Philips Lighting Certification targeted LEED Platinum Websites www.rbcwaterparkplace.com www.wzmh.com www.cisco.com

© Darius Kuzmickas, KuDa Photography

Real estate developer CBRE

AIRPORT LIGHTING DESIGN

Light in

flight

By Ruth Slavid

18 ONDERWERP

ONDERWERP 19

Dubai International Airport, Dubai, United Arab Emirates Š Philips Lighting

© Nakanimamasakhlisi

The lighting of airports requires an understanding of everything from car parking to retail, while ensuring that passengers feel safe and happy and that the complex facility can operate effectively.

Airports are among the most complex building types to design.

Functionally they have to ensure efficient flow through of passengers and baggage. At the same time they have to satisfy increasingly onerous security requirements while allowing passengers to remain as relaxed as possible. Passengers have to be able to find their way through the airport as instinctually as possible – but sometimes not too rapidly. This is because retail is an increasingly important aspect of the airport experience and income. Airport operators often do not cover all their costs with aeronautical income (largely passenger charges and landing charges) and so are dependent on nonaeronautical income to make up the shortfall. And retail is the largest component, with the 2015 ACI Airport Economics Survey estimating that it makes up 27% of non-aeronautical income (followed by car parking and aircraft catering).

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In addition airports are places of work, with large numbers of employees who have to be looked after. And operators are aware that their facilities need to be more than simply functional; as competition between airports grows, and so does that between cities to attract tourists, so designers are becoming increasingly aware that they need to give the terminals they design character, relating to their location.

Lighting designers have a clear role to play in this process, working with architects. Simply put, you can divide the work into three areas. First is the landside area, before one enters the terminal, where the main concerns are with transport, parking and the appearance of the airport facade. Then there is the experience within the terminal itself. And finally there is the airside, with the taxi areas and the runways.

For most passengers, and especially in countries like the US which still have relatively little public transport, the first experience for most travellers is of arriving by car. Roads and tunnels need to be lit effectively, in the way that any such infrastructure would be.

© Nakanimamasakhlisi

Kutaisi International Airport, Georgia, RCA Master plan and terminal United Airports of Georgia LLC Air Traffic Control Tower, offices and meteorological building Sakaeronavigatsia Ltd. Architect UNStudio Lighting designer Primo exposure

© Primo Exposures

Lighting solutions Philips CitySpirit, DecoScene, Selenium, Optivision, Fugato Compact, EFix, Celino, SmartForm

Š Giulio Calisse

Ronald Reagan Washington National Airport, Terminal A, Washington, D.C., USA Client OTG Management Interior and lighting designer ICRAVE Architect of record Architectural Alliance Engineer of record Rosini Engineering Lighting solutions Philips Color Kinetics custom ColorGraze Powercore, custom eW Blast Powercore

Š Giulio Calisse

Lighting controls Philips Color Kinetics iPlayer 3

22 LIGHT SOURCE

Parking may be either open or enclosed. In both cases the functional needs have to be combined with ensuring that people using the parking feel safe. While this is true of all parking, it is especially so at an airport which most people visit occasionally or perhaps only once. And many airports operate for 24 hours a day, so the lighting will be on for a long time – making efficiency paramount. LED lighting in combination with presence detection is evidently ideal in these circumstances.

Lighting the facades is evidently important, both as the first step in wayfinding, and to give a good first impression of the building.

Once inside, one can see the first steps in a passenger’s experience as being very ‘businesslike’. These are passing through the departure hall, checking in and security. At all times it is important that passengers are not confused, and that the staff working there have both excellent working conditions and an environment that makes them appear efficient and authoritative. A range of lighting needs to be considered.

Once the passenger is through to the departure area, they are more at leisure. This is when they will relax, probably with some shopping or eating. Singapore airport has a wide range of entertaining facilities such as a butterfly garden. For most airports having a large and visible feature both assists with orientation and makes the airport memorable. At Terminal A of the Ronald Reagan International Airport in Washington, A large white sculpture, slightly reminiscent of the spokes of an umbrella, forms a centrepiece to the hall, drawing passengers to the catering facilities below it. It also echoes and enhances the original architecture of the space, with its highly sculptural space.

The lighting of this object was essential but tricky. The area is well-lit with natural light coming in through large windows, and after some consideration the lighting designers decided that only white LED light would be appropriate – coloured lights would create shadows that would be distracting. But the colour temperature varies through the day, echoing the changing quality of the external light, so that it is at its coolest at midday and becomes warmer at both ends of the day, making the most not only of the new feature but also of the sculptural ceiling.

Above: This cross section shows the exact angles and optics of each fixture needed for expansive light coverage for each ceiling fin.

© ICRAVE

Even imaginative lighting of relatively mundane areas can pay dividends

LIGHTING PRACTICE 23

© Daici Ano © Daici Ano © Daici Ano

When passengers are spending a lot of time in the space, even imaginative lighting of relatively mundane areas can pay dividends.

So, at Narita International Airport in Japan, Klein Dytham Architects has created ‘Gallery Toto’, a means of cladding the toilets with colour-changing luminous textiles to create both interest and a sense of quality. The intention is to roll out the idea to other airports.

On airside, technical concerns tend to dominate. It is essential that areas are well lit, but this must be done in a way that does not cause glare. It is also important to have bright white light in areas such as airport hangars.

But there is also room for innovation. The most obvious area is the control tower – an essential part of the airport’s operation but also, by virtue of its height, a landmark. At Kutaisi International Airport in Georgia, designed by UNStudio, lighting designer Marco de Boer of Primo Exposures, has defined the tower with lines of white light plus

24 LIGHTING PRACTICE

a coloured glow coming through a perforated double skin. Within the terminal, the architect has designed a sculptural ceiling that dips down into the space, providing intimacy as well as drama. Again, the lighting plays a vital role in defining this form. For de Boer, who had not worked on an airport before, one of the greatest challenges was that ‘you have to comply with so many different regulations, land­side and airside – and at the same time you have to give the passengers a nice feeling and make them feel safe.’

Airport lighting is certainly a complex issue, but for the operator it is only one of many such issues. That is why a new approach, being pioneered at Schiphol Airport in the Netherlands, is fascinating.

The airport is buying the light as a service from Philips, which remains ownership of and responsibility for all the luminaires and their performance. Light may, by definition, a visible technology, but sometimes the elements that you can’t see are of equal importance.

© Daici Ano © Daici Ano

Client TOTO and Narita International Airport Designer Yasuyuki Tamenaga (black*bath) Architect Klein Dytham Architecture Lighting solutions Philips Luminous Textile panel

© Daici Ano

Narita International Airport, Narita, Japan Gallery Toto

Š Vincent Fillon

© Vincent Fillon

VÉRONE, VENTE-PRIVEE BUILDING, PARIS, FRANCE

The marriage of Architecture with Art and Digital

By Isabelle Arnaud

In Saint-Denis, facing the Stade de France and bordering the banks of the Seine, a monumental architectural work has joined the Parisian cityscape: the artistic façade of the new building for French e-commerce company ­ vente-privée, Le Vérone, is the work of Pucci De Rossi, a renowned Italian designer and artist.

URBAN LIGHTING 27

© Jean-Michel Wilmotte

Above: Façade elevations Right: Fiber-reinforced concrete latticework facade, covered with 1950 LEDs

“The most difficult part was to find the right luminaires for the starlight effect, since we could not pierce the latticework.”

Cyril Tristani

Like a beacon on the outskirts of the capital that welcomes its visitors, Le Vérone, restored by architect Jean-Michel Wilmotte, is distinguished by its fiber-reinforced concrete latticework facade, covered with 1950 LEDs and adorned with a highresolution screen of 102 square meters, the largest in Europe. The dynamic lighting combined with the screen and the depth of the latticework, forms an invitation to discussion, a hymn to art and to creation at the gates of the capital.

The building is named after the Italian city, Vérone, (Verona in English) where Pucci De Rossi was born. Not long before he died, the artist adjusted the last details of the ornamentation of the façade, at the request of his friend, Jacques-Antoine Granjon, CEO and founder of vente-privée.

The sculpture was installed at 1m in front of the east façade of the building. Technical design was by engineering consultants

28 URBAN LIGHTING

Guillaume Lamoureux and Romain Ricciotti, who created 87 tailor-made modules, supported by diagonal metal braces.

Jacques-Antoine Granjon wanted to have lighting that could illuminate both the building and the artwork. Cyril Tristani, from D’enco, explains how he imagined the lighting design to meet these requirements: “We were asked to create a constellation of lights and a general lighting that could change in colors and intensity. The dynamic lighting had to be harmonized with images on the screen, and use the corporate pink color of vente-privée. Luminaires had to be of small dimensions and not visible in daylight in order to respect the artwork.”

Tristani’s solution uses a starlight effect on the latticework along with wallwashing lighting on the façade itself. “The most difficult part was to find the right luminaires for the starlight effect, since we could not pierce the latticework. We chose iColor Flex LMX gen2 from Philips Color Kinetics.”

This consists of flexible strands of large, high-intensity, full-color LED nodes designed for extraordinary effects without the constraints of fixture size, shape, or space. Each iColor Flex strand consists of 50 individually addressable LED nodes, featuring dynamic integration of power, communication, and control. The flexible form accommodates two- and threedimensional configurations, while the high light output affords superior long-distance viewing for architectural accent and perimeter lighting, large-scale signage, and building-covering video displays. Altogether, 1950 LED nodes illuminate the façade.

For the wallwashing effect, D’Enco chose ColorReach Compact Powercore projectors. All the RGB luminaires are addressable to offer a large choice of colors and dynamic effects. “Our client was convinced right away, and after the first tests, the decision was taken to use these luminaires that were painted in

© Xavier Boymond

© Xavier Boymond

© Philips Lighting

Left: Lighting systems on the façade Right: ColorReach Compact painted in a light grey in order to become invisible on the facade.

“The lighting effects from the iColor Flex and ColorReach had to be harmonized with colors and shapes appearing on the giant screen”.

Richard Brousse a light grey in order to become invisible once installed on the façade”, explained Tristani.

With the design concept settled, the real challenges began: connectivity, program and implementation of the luminaires.

Specialists worked in close collaboration throughout the whole project. For Flavien Simon, Citeos, a Philips certified value added partner, it was a big challenge.

Having recently trained in Boston in the implementation Color Kinetics products, he had the opportunity to put his learning into practice: how to do electrical and Ethernet wiring as discreetly as possible and how to implement the 1,950 LED nodes.

In order to obtain the desired effect while avoiding glare, it was decided to direct part of the nodes towards the façade and the other part towards the exterior with

30 URBAN LIGHTING

a distance of 50 cm between each node.

“We have made special metal supports fixed on the latticework and on which we installed the Flex. The ColorReach Compact Powercore projectors are suspended on specially made metal pieces, positioned few meters from the ground floor. They are oriented towards the roof to obtain a wallwashing effect”.

Last, but not least: the elaboration of the lighting control. Richard Brousse, a lighting application specialist with Philips Lighting, has created a scheme dedicated to the programming of lighting scenes.

Using Pharos software and Kinet protocol, he worked on each node and each projector, in order to obtain all the color changes and intensity variations for the desired scenarios. “The lighting effects from the iColor Flex and ColorReach had to be harmonized with colors and shapes

appearing on the giant screen. We did several sequences that the client can change whenever he wants. Then, we trained technicians of vente-privée so they’ll be able to create and change the scenography without our help in the future”, says Brousse.

Jean-Michel Wilmotte and Jacques-Antoine Granjon inaugurated the new vente-privée building in January 2016, in the presence of the French minister of economy, Emmanuel Macron, French secretary of state for relations with Parliament, Jean-Marie Le Guen, and French secretary of state for trade, Martine Pinville. With its Pucci de Rossi artwork and the amazing and spectacular lighting design, Le Vérone has become the first private building in France to celebrates the marriage of architecture with art and digital technology.

© Xavier Boymond

Client Vente-privée Jacques-Antoine Granjon Artist Pucci de Rossi Architect Jean-Michel Wilmotte Structural engineering Guillaume Lamoureux, Romain Ricciotti Lighting engineer D’enco, Cyril Tristani Certified value added partner Citeos Mapping and programming Philips Color Kinetics iColor Flex LMX gen2, ColorReach Compact

Websites www.pucciderossi.com www.wilmotte.com www.citeos.fr

© Xavier Boymond

Lighting controls Pharos

CITY OF Ă VILA, SPAIN

From the Dark Ages to

modern light

By Jorge Rubio

“The first thing was to understand the lighting needs in different areas of Avila, both inside and outside the city walls”

© Carlos Cazurro

Rafael Gallego

Nobody knows better than Rafael Gallego, a lighting designer based in Madrid, Spain, the history that lies behind the project for the transformation of Ávila. During a relaxed conversation, he told us about the details and lessons learned by all the project members. It was a history of overcoming obstacles, of collaboration and the involvement of an excellent multidisciplinary team.

The lighting of the city of Avila happened thanks to the willpower of technicians and local government leaders.

Despite an initial rejection and having to deal with certain difficulties along the way, they have managed to transform the project into a total success for of Ávila and its citizens, so much so that the completed project won first prize in the 2015 city.people.light awards.

What is the character of Ávila?

Rafael Gallego: The origins of Ávila as a city are marked by the successive cultures and various villages that make up its history: Romans, Visigoths, Arabs and Christians all left their mark on the current urban layout which retains original medieval features inside the city wall. The city grew beyond the walls by responding to the needs of each moment, with the surrounding residential are not having any direct effect on the historic landmark.

© Carlos Cazurro

How it was the decision taken to create a lighting masterplan?

The masterplan arose directly from the economic needs of the city council, with the main being to reduce the electricity costs for lighting the city.

© Carlos Cazurro

© Carlos Cazurro

Left: Rafael Gallego, Aureolighting Below: Overview of the city wall

Tourism is the main economic engine of the city and the ambience at night needs to be as attractive as during the day.

Without the attraction of adequate lighting in the streets and monuments, the city’s economy would be seriously affected.

It was at this moment that the city council decided to ask us to develop a lighting masterplan and to recover the charm of the nocturnal city.

What is the new lighting philosophy?

The lighting masterplan should transform the strategic lighting effects, positioning, and personality of the city, so that the light becomes a communication tool for the municipality, without forgetting the original objective of energy saving.

The objectives of the Masterplan do not only belong to an area of the city but to the entire city. They are ambitions to make improvements that will benefit it’s the citizens, the city’s trade, culture, heritage and tourism.

How do the different kinds of lighting work?

It was decided to divide the lighting into different types indifferent areas of the city: – Functional – Architectural – Commercial business – Festive Each type has its own set of challenges and has to satisfy specific local regulations for the different municipal areas.

Functional lighting includes street lighting and the lighting of all traffic routes. The level of intervention in this area has been 100 %.

The architectural area is the part of the city dedicated to tourism and heritage. This area currently consists of 66 monuments, of which the wall is the most important and the most difficult to light due to economic constraints. The level of intervention in this area was around 5 %.

© Carlos Cazurro

The unintended and unwanted consequence of this action was, despite obtaining more efficient and economical urban lighting, the visual perception of the city was changing radically as the project advanced.

Most of the monuments which were previously lit “accidentally” by light pollution from the old lighting, were becoming dark, generating a sense of rejection from the renovation project. Monuments were becoming disconnected and less noticeable. The atmosphere of the streets within the walls was losing its medieval flavor. They had been left without light, without life.

© Rafael Gallego

Above: lighting masterplan by Rafael Gallego, Aureolighting Top right: City wall by night.

Bottom right: Santa Teresa de Jesus.

The commercial business area is the most complicated to deal with, because it includes a combination of private and public interest.

directly related to Santa Teresa de Jesús – an iconic character of Avila – are lit dynamically through the variation of the intensity in different areas.

The festive area emerges during local and national festivals in the city, such as Christmas and other annual celebrations.

We have on going permanent lighting and dynamic “show” fixtures in certain key areas of the city, thus generating a new tourist attraction that would not be possible without this effect of lighting.

What response is the masterplan receiving from municipal managers in the field of lighting?

The response from the local authorities is now very positive. While it is true that the original start of the plan was widely criticized due to the mistake of thinking only in terms of energy saving, the results are still very rewarding.

What types of control have you put in place to manage the lighting?

The functional lighting control system is simple but effective: the lights operate at 80 % of its maximum intensity and from certain times are regulated by up to 25-30 %.

The illumination of the monuments in the architectural area uses different control systems, creating scenes appropriate to each specific monument. The monuments

36 URBAN LIGHTING

What do you think about receiving the city.people.award 2015?

The prize is a grand finale that recognizes the success of teamwork. I am really happy that the city was awarded the prize. It is a prize dedicated to the people. After a series of ups and downs at the start, we have managed to pull through and demonstrate a huge improvement.

Client City of Avila Lighting designer Rafael Gallego, Aureolighting Functional lighting Philips Indal Farol Villa LED, Farol Fernandino LED Architectural lighting Philips Color Kinetics eW Graze DD, eW Blast DD, eW Burst DD, DecoScene LED Lighting controls Philips Color Kinetics iPlayer3 Sketches Rafael Gallego Websites www.avila.es www.aureolighting.com

© Carlos Cazurro

© Carlos Cazurro

TOWN OF VEGHEL, THE NETHERLANDS

Retail

revival

By Mark van Doorn

Š Frank van Beek

A small town in the Netherlands is reviving its retail potential by focusing on what makes it special.

The town of Veghel in the South of the Netherlands has tackled head on the problems of retail that are both specific to it and that are affecting high streets more generally. With only 30,000 residents, Veghel cannot compete directly with larger neighbours such as Uden, Eindhoven and Den Bosch which can offer far more. As a result, only 35% of Veghel residents shop in their own city center.

© Frank van Beek

Veghel has therefore realised that it will never be able to compete directly with these larger cities or with national and international retail brands. Instead it has created a vision for retail that builds upon the town’s particular strengths.

Veghel is well‐known for its food industry, has many independent specialty shops and restaurants, and wants to transform its city center into a place where people enjoy spending time and discover special shops and restaurants and relax.

Last year alone, the magazine Retail Week expected the online spend in the UK to rise by 12% to €150bn. Alongside this rise in online shopping is a change in priorities, with around 10‐15% of income going on products like smart phones, tablets and apps. This is reflected in an interest in buying less expensive clothes and food.

The unfortunate retailers also are also having to cope with rising business costs such as rent and staff salaries, and with the regulations designed to improve sustainability and prevent the use of child labour, while also competing with fastgrowing and more competition from global brands such as IKEA, Zara and H&M. The result of all this is that the UK’s Centre for Retail Research estimates that one every five stores will close before 2018.

For a small town like Veghel to buck the trend calls for some original thinking, and that is exactly what it has done.

It has embraced a whole raft of strategies to revitalise its city center. These include:

1. Online: The management team for the town center built a website where entrepreneurs could create content to promote their shops and offer useful information. The city created free WiFi in the city center 2. Public space: The city council invested in improving the quality of public space by adding more green areas, improving streets and providing subsidies for facades.

3. Real‐estate: The municipality is organizing ‘matchmaking’ sessions between new entrepreneurs/retailers and real estate owners to find new tenants.

The municipality also invests in making empty shop windows more attractive.

4. Housing: The municipality has an active policy to transform empty stores and offices into housing and to relocate existing stores to the heart of the center.

7. Monitoring: The center management and Philips have invested in monitoring the impact of all these changes over a period of two years.

5. Parking: The municipality has established free parking for a large part of the city center.

8. Dynamic lighting and sound: The center offers a mix of retail, hospitality and events but also an interactive, multimodal public space with lighting, sound and green spaces that can support themes, events and activities in the city center.

6. Qualitative growth: The center management and the municipality have chosen to concentrate on qualitative growth and to target specific entrepreneurs and events to further strengthen the image of the city.

© Frank van Beek

Architectural lighting can animate the streets of Veghel with dynamic lighting patterns and sound effects

Left: The pilot project in 2013 in one of the alleys between a parking and a shopping streets was successful: 22 new or renewed stores opened.

URBAN LIGHTING 41

Right: In January 2015 the city council of Veghel decided to go ahead in the two main shopping streets.

Bottom: Designing special luminaires that can animate the streets with dynamic lighting patterns and sound effects or music.

Veghel is the first city center where this experience platform is being used Philips Lighting worked with the municipality, the center management and other stakeholders to create a design that would make the city-center shopping experience more interactive, engaging and fun by triggering the senses so that visitors would want to spend more time there and, hopefully, more money.

The project started in 2013 with a pilot in one of the alleys between a parking and a shopping streets. The pilot was successful: 22 new or renewed stores opened: six restaurants and bars, eight retail stores, four food specialists and one service provider. There were more than 19,000 unique visitors to the online platform and the province of Noord‐ Brabant awarded the town of Veghel a liveability subsidy.

42 URBAN LIGHTING

In January 2015 the city council of Veghel decided to go ahead with the implementation of this unique approach in the two main shopping streets (Kalverstraat and Molenwieken).

It implemented lessons learnt from the pilot, designing special luminaires and offering a greater variety of content.

Functional lighting (for safety, security and regulations) is combined with architectural lighting that can animate the streets of Veghel with dynamic lighting patterns and sound effects or music.

These can support themes like Christmas, Easter, Valentine’s Day, and events like fashion shows, music festivals and branded campaigns. Most important of all, they can enhance daily activities like getting to work, and a normal weekday.

The public space works together with

activities that are organized by retailers in their stores, hospitality owners in their restaurants and bars, center management, city marketing online and on social media.

We developed an experience platform consisting of technology and services to help support center management and entrepreneurs to create, test, plan and run these dynamic lighting and sound experiences. Veghel is the first city center where this experience platform is being used, but it is also being used to driving in‐store, interactive, multi‐sensorial shopping experiences.

The new public space went live on 20 November 2015. The center manager is the director who orchestrates all experience in the center now has a new instrument to play, adding lighting and sound to the deployment of online tools, social media, stores, restaurants and bars.

Client Town of Veghel

Several towns and cities throughout Europe have shown interest in the approach and solution pioneered in Veghel, but a question that is often raised is whether Philips Lighting thinks it can solve the problem of retail just by adding some lamps. Of course lighting alone will not revitalize our city centers, but dynamic lighting can help to create clean, safe, animated city centers where people love to live, work, entertain and shop. Because lighting plays such a key role in our lives, dynamic lighting can have a big impact if it is really used to support themes, events and situations and is part of a larger initiative that covers not only the public space but also online, mobile, social media, stores, restaurants and bars and is really orchestrated by center management and its stakeholders. City centers are struggling; there is no time to lose.

Landscape architect Greenm2 Associate university Erasmus University of Rotterdam Cor Molenaar Phase 1 – 2013 Lighting controls Philips Color Kinetics ecolor Graze QLX Powercore BCS447, icolor Flex LMX gen2 Phase 2 – 2015 Lighting controls Philips Lighting Benelux, Design and Global Systems Websites www.veghel.nl www.veghelcentrum.nl

URBAN LIGHTING 43

INTERNET OF THINGS TO INTERNET OF ILLUMINATED THINGS

Only

connect

By Jonathan Weinert

Connected lighting has a vital role to play in the evolution of the Internet of Things, offering a ready made network that can use sensors and reporting technology to improve experiences dramatically.

Offering a platform for distributed communications networks

Owners and tenants recognize that sustainable buildings improve health and wellbeing, meet energy legislation, save energy, improve brand image, and increase total value of ownership

46 ONDERWERP

+ Employees can control lighting comfort levels and temperature by using an app on their smartphones + Using the connected lighting system, the energy use, occupancy, and cleaning regime can be optimized, allowing the company to shut down areas when not occupied + It’s all Ethernet powered no electrician is needed to change luminaires and it’s easy to upgrade as technology advances

The Internet of Things (IoT), is all about data. Connected devices are connected expressly for the purpose of gathering and sharing information about themselves, about the environment in which they’re used, and about the people who use them. In a connected lighting system, luminaires and other lighting system devices merge with IT networks to allow the collection, distribution, and storage of large amounts of data.

Regardless of how widespread their use, all connected products have in common the ability to participate in the Internet of Things (IoT). The IoT refers to a set of new capabilities enabled by ubiquitous connectivity, high throughput, inexpensive data storage, and miniaturization, which makes it possible to embed advanced computing and communications features into all kinds of devices, from toothbrushes to tractors.

The Internet of Things (IoT) calls for systems thinking. In the most general sense, a system is a set of components that work together to deliver a specific set of capabilities. A lighting system is a set of components that work together to deliver a specific set of lighting capabilities. A connected lighting system is a set of components that work together to deliver a specific set of lighting capabilities and capabilities beyond illumination.

Connected lamps and luminaires are part of this trend.

Connected luminaires integrate with software and controls, and incorporate the ability to collect and share data with other connected products and the people who use them.

But connected lamps and luminaires do something that other connected products don’t do: they give light. Connected luminaires are beginning to appear for every conceivable professional lighting application, from street lighting to office lighting to façade lighting to display lighting in shops and supermarkets.

Call it the Internet of Illuminated Things.

LIGHTING TRENDS 47

0101010101 010 01 10101 01 01 0 10 1 0 10

+ More accurate positioning than GPS, through a ‘highly granular’ lighting grid + Office workers control lighting and comfort levels via a smartphone app + Lighting ‘reports back’ via sensors to a central point on space occupancy and user needs + Data harvested through lighting helps to optimize building efficiency

PoE Power over Ethernet

Ethernet

cable is data and power cable

87.5% less mains connections

48 LIGHTING TRENDS

01 01 01 01 01 01 01 101 0 01 01 0101 0101 In standard lighting systems, little or no data is available on the current state of the luminaires and other devices. Often, a system administrator must take the lighting system offline to troubleshoot, to change luminaire configurations, or to display new light show content.

With lighting management software running in the IT network or the cloud, connected lighting systems offer a much richer environment for system administrators to oversee and optimize operations. Lighting management software systems that integrate tightly with connected luminaires – such as Philips CityTouch for street lighting or Philips ActiveSite for dynamic architectural lighting – allow system managers to see the current state of each light point, and to act on light points individually or in groups.

For office lighting systems, end of life is often defined as the moment when the initial light output of the luminaires has depreciated by 30%. With LED-based lighting systems, this moment may not occur until after the system has been in operation for 50,000 hours or more (12 years or longer if the lights are on 12 hours a day, every day). If the system can automatically detect this event and send an alert, facility management can know when relamping is required.

Connected luminaires can deliver personalised services via mobile apps

When combined with a database, lighting management software can let organizations store historical data on operations, along with any data streams aggregated from sensor networks and indoor positioning systems. It’s hard to underestimate the value of the data-driven insights that can result from analyzing and reporting on this data, especially when combined with valuable data from additional sources.

Just as connected lighting systems can serve as a platform for distributed sensor networks, they can also serve as a platform for distributed communications networks, especially indoors.

By fitting connected luminaires with wireless communications, organizations can deliver relevant information and services to people in illuminated spaces – wherever they are and whenever they need them.

With a sufficiently dense network of communications nodes, organizations can create an indoor positioning network that works like an “indoor GPS,” offering wayfinding and other services that can have a considerable effect on visitor experience in professional, retail, and hospitality environments.

LIGHTING TRENDS 49

Imagine a large food store with indoor positioning. A shopper can use a specially designed mobile app to register with the system, which precisely locates him in the store. The app maps his best route through the store based on his shopping list, makes suggestions for related products not on the list, and even offers special coupons on selected items.

Sensor networks are the subject of a lot of discussion these days, and for good reason. Sensors can collect data about human activity – the flow of foot traffic, usage patterns, preferences; the environment – daylight levels, temperature, humidity, the presence of chemicals or other dangers; and things – the locations of items in a warehouse, traffic patterns.

Connected lighting systems are uniquely positioned to serve as platforms for sensor networks. By integrating sensors into the lighting system, you have a readymade, distributed grid – no need for a separate physical infrastructure, separate power runs, or separate data cabling.

50 LIGHTING TRENDS

One promise of the IoT revolution is greater interconnectivity and integration of all systems. This interconnectivity is sometimes called the system of systems, or the digital ecology. The ultimate goal is a fully integrated resource management environment that can centrally monitor and manage multiple systems in a city or building – including HVAC, traffic management, energy management, alarm and security systems, emergency systems, and so on. Connected lighting systems enable integration of illumination capabilities into this emerging landscape.

With integrated sensors, connected luminaires can gather data about the usage of illuminated spaces, and send it “upstream” to a database where facility, IT, or lighting system managers can store, analyze and mine it. System managers can use this intelligence to adjust organizational objectives and spending to maximize efficiency while offering the best possible experiences to users of illuminated spaces. They can arrange to deliver light when, where, and how it’s needed, based on new insight into the activities in those spaces.

With integrated wireless communications, connected luminaires can deliver personalized services and in-context information to people in illuminated spaces via specially designed mobile apps.

This is especially true indoors, where GPS doesn’t work. If the communications grid is dense enough, a connected lighting system can create a sort of “indoor GPS” that affords the kind of rich experiences commonly delivered by smartphones outdoors.

These include wayfinding in a store, mall, campus, office complex, or airport; in-context information about the immediate vicinity, whether product locations, suggestions based on preferences and prior activities, or some kind of alert; and personalized control over the immediate environment.

The data collected from connected luminaires can combine with data from other sources for reporting, analysis, and decision support, allowing the lighting system in a building or system to participate in a larger “digital ecology,” whether that’s a comprehensive energy-neutral program for an organization or a resiliency initiative in a metropolitan area.

Because connected luminaires can share information about their status and operations, system managers can monitor the lighting system in real-time, and make real-time management decisions and adjustments to settings and behavior to respond to changing conditions and to maximize operational efficiency.

Big Data is a term that describes the exponential growth and availability of data from an avalanche of new sources – especially from connected devices, which exist in order to collect and transmit information. Big Data may prove to be as transformative a technology as the Internet, as the enormous amounts of data being collected now may support deeper insight, more accurate analysis, and better decision-making, in business and elsewhere.

Another promise of the IoT revolution is the insight that comes from streaming, storing, combining, and mining massive amounts of data from multiple sources. With integration on the software and database side, connected lighting systems can participate in another major technology trend: Big Data.

Optimization benefits are of a different magnitude Our connected lighting system’s data reporting based on sensor information helps to optimize energy usage for all building utilities, not just lighting, plus it helps aid space optimization

LED only

LED lighting system Connected lighting system Integral costs per 10K m2 office space / Indexed, 100 = ‘dumb’ LED

Lighting related costs

Building related costs

Luminaires and light sources

Commissioning and installing

Cabling

Energy and maintenance (15 years)

Facility management (15 years)

Floor space (15 years) Savings

Sensors and controllers

ONDERWERP 51

SCHALCKEN EXHIBITION, WALLRAF-RICHARTZ-MUSEUM & FONDATION CORBOUD, COLOGNE, GERMANY

Master of candlelight

By Ruth Slavid

A new lighting system for museums made it possible to highlight the works of a forgotten Dutch artist in a way that brought out his mastery of the use of light.

52 CONCEPT CORNER

How do you light paintings that are in themselves all about the quality of light? This was the challenge that faced the Wallraf-Richartz-Museum & Fondation Corboud in Cologne, Germany, when it was planning an exhibition of the work of 17th Century Dutch artist Godefridus Schalcken (1643-1706).

Schalcken was a genre, portrait and history painter who specialised in the portrayal of candlelight, illuminating his rich and polished scenes.

Doctor Anja Sevcik, head of Baroque painting at the museum and curator of the exhibition Schalcken – Painted Seduction, explained that while Schalcken had been much admired in the past – Goethe for instant revered him – his very elegant paintings had fallen from favour in the 19th Century when more bourgeois artists such as Rembrandt were more highly appreciated.

With this, the first ever monographic exhibition of his work, “we were trying to re-establish him as an important figure in late 17th Century art,” Sevcik said.

Although Schalcken was not the first painter to use candlelight as an important aspect of his work – think for example of Caravaggio, many of which use amorous scenes. They are, says Sevcik, often described as ‘seductive’ and the effect is to draw viewers physically close to the paintings as they try to immerse themselves in the scenes.

Creating this sense of intimacy was therefore essential to the design of the exhibition, for which Sevcik wanted to create a special atmosphere, to give visitors an experience that put them in the right mood for visiting the paintings. The exhibition area is in the basement of the building, with no top lighting, so it is entirely dependent on artificial lighting. It was in this context that the museum made its first foray into the use of LED, having lit the works in permanent collection largely with halogen spots.

In the Schalcken exhibiton, “we wanted,” said Sevcik, “to draw attention to the light effects and to draw out the little details of Schalcken’s meticulous fine painting. Sometimes a birth mark on a woman’s breast tells you something important about the story

CONCEPT CORNER 53

“I love the accuracy that was possible with the lighting” Dr. Anja K. Sevcik

that is depicted.” In the 17th Century, she said, Schalcken’s paintings were described as “jewels and gems. That was something I wanted to achieve with the lighting.”

Although the temporary gallery has a light ceiling installed, the museum decided not to use it for this exhibition, lighting the paintings instead entirely with spots. These create small pools of light on the paintings and on a small area of the surrounding blue painted walls – a typical 18th Century colour – creating exactly the effect of being in a jewel box that Sevcik was after.

The overall lighting level is low, and the visitor is automatically drawn towards the individual paintings. The exhibition was the first application of Philips’ PerfectBeam LED luminaire range, which was designed specifically for museum applications, offering excellent colour rendering and protecting precious works of art.

It gives great freedom to the designers of temporary exhibitions while offering low maintenance and energy efficiency.

54 CONCEPT CORNER

The luminaire range includes a Framing Projector and a Variable Spot with superior beam uniformity. Inspired by precision optics like camera lenses, this luminaire range comes with a zoom mechanism and a number of beam shaping lenses that are easy to adapt, allowing a museum to recreate an infinite number of light effects suited to each new exhibition.

The Schalcken exhibition made excellent use of these features.

The text on the walls is deliberately kept to a minimum, as Sevcik wanted visits to be visual rather than didactic. What this did mean was that the limited text that was used was of deliberate significance, and this was enhanced by the lighting. Introductory text to the thematic chapters of the exhibition was framed in rectangular lighting frames – that is lighting that has deliberate hard edges between light and dark. And throughout the exhibition, some quotations commenting on Schalcken’s art were put on the walls. These were enhanced by oval frames.

Left: StyliD PerfectBeam. Variable spot, 7° through 43°. Framing projector.

Above: Quotations were enhanced by oval lighting frames.

Sevcik loved the accuracy that was possible with the lighting.

The lighting application designers worked for five days, dimming the lighting on each painting to get exactly the effect that they desired.

In addition to the display of paintings, the museum set up a ‘darkroom’ to show how Schalcken painted. This was a response to the fact that he was painting pictures showing incredibly low light – and yet of course he needed enough light to paint by.

The demonstration atelier included a mirror and an ‘LED candle’ to give an impression of how the artist would have worked.

Overall, said Sevcik, “Lighting is a very subtle and important issue.

For this exhibition it added real value. Visitors told us that they loved the atmosphere of the exhibition. We were able to transport them back to a feeling of what it might have been like to view these paintings at the time they were painted when light was costly and rare.”

Client Wallraf-Richartz-Museum & Fondation Corboud Exhibition curator Wallraf Richartz Museum Dr. Anja K. Sevcik Exhibition designer Caspar Wündrich, ssp formfaktor Lighting application designers Philips Lighting Mayulé O. Torres López, Luc van der Poel Lighting solutions Philips StyliD PerfectBeam Variable Spot, 7° through 43° Framing Projector Websites www.wallraf.museum www.philips.com/museumlighting

CONCEPT CORNER 55

© Barbara Artemis Constantinou

Below + right: Church Agios Antonios

ISLAND OF KEA, GREECE

Rethink

the night

By Ruth Slavid There are two types of people who seem to like staying up late at night – those who are fond of parties, and lighting designers.

There may be opportunities for both at an event to be held on the Greek Island of Kea last 10-14 October. Called ‘Reclaim the Night’ it is the third such international lighting design workshop to take place on the island in the Aegean. It deals with the very important topic of the interaction between artificial lighting and darkness, that increasingly rare commodity.

Participants will be able both to experience natural night light and to develop ways of lighting in harmony with the darkness.

The three workshop heads were lighting

56 GALLERY

designer Lara Elbaz, projection mapping expert Christoph Drews and architect Iva Vassileva. As part of their experience, those attending the workshop came up with lighting solutions for three small chapels on the island.

The workshop also aims to give participants access to current lighting technologies.

These were comprised: dynamic lighting control, phosphorescence-aided lighting, projection mapping and projection techniques. A range of lighting solutions was available for participants to use when developing their solutions. These included Philips Amphilux and Philips Color Kinetics Color Burst.

Before the workshop, the participants also had the opportunity to listen to fascinating talks from three speakers: Professor Dr Thomas Romhild, head of the interdisciplinary masters course in lighting design at the Hochschule Weimar in Germany; Dr. Günther Wuchterl, chairperson of the Kuffner Observatory, Vienna and co-chairperson of the International Dark-Sky Association Austria Chapter. Dr. - Ing. Georgios Paissidis, chairman of the Hellenic Illumination Committee / Greek CIE National Member & CEO of Stilvi Lighting.

Website www.rethinkthenight.com

© Barbara Artemis Constantinou

© Barbara Artemis Constantinou

Right: Church Agia Triada Below: Archangel Michael

GALLERY 55

© Barbara Artemis Constantinou

Have you designed something remarkable in an urban area?

This is your opportunity to show it to the world! Participate in the international City.People.Light award and submit your project today.

Victoria Grande Fortress, Melilla, Spain Architect: Chacel 8 Architectura Lighting design: DCI lighting practice