International Lighting Magazine 2017/19 Spring Issue
Leo Villareal, Peter Morse, Max Fordham LLP and Part of a Bigger Plan
Innovative technologies Views on BIM and smart cities from designers and users
EDITORIAL The expression “Get it right the first time” is popular because getting it wrong can be costly, waste time and ruin a reputation. BIM is one of the new tools that is now being used in construction to reduce the risk when you have many conflicting services and construction disciplines all vying for the same space. But it also takes design one step further by specifying not just the physical space but also the performance. As Paul Haddlesey discovers in our article on BIM, eventually all lighting projects are likely to adopt the protocol. But computer simulation is not the only way to ensure confidence in your design. There is nothing like getting on site with your project to feed your inspiration. We hear how Leo Villareal was inspired by working on location at the Bay Bridge, and about an initiative by the IALD to run a practical outdoor lighting workshop in India where students learn through practical experience with real products. Or you might be inspired by a visit to our Outdoor Lighting Application Center where the new City Square demonstrates the contribution of lighting to making out cities livable. Getting your design right first time is not the only responsibility of designers. We hear that ensuring the original design intent lasts throughout the lifetime of the project is as important as the initial concept. This isn’t just about educating clients but also about specifying the right products in the first place and providing the flexibility that may be required throughout the project’s lifetime. I hope you find these articles in the latest edition of Luminous inspiring. Pierre-Yves Panis Head of Design, Philips Lighting
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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 | Nico Karres, Guillaume Galloy, Jaap Schuuring, Mike Simpson editing | Ruth Slavid graphic design concept | one/one Amsterdam printing | APS Group B.V. ISSN nr | 1876-2972 12 NC 3222 635 70870 cover | Hercules Segers exibition, Rijksmuseum, Amsterdam, The Netherlands photo | © Part of a Bigger Plan more info | email@example.com
LIGHT BACKGROUND FEEDBACK
BRIDGE OF DREAMS
A CONNECTED DESIGN
DON’T MISS THE BOAT WITH BIM
INSPIRING THE NEXT GENERATION
Jeff Shaw, Thorsten Bauer and Paul Gregory discussion, UK
Leo Villareal interview, San Francisco’s Bay Bridge, US
Designer feedback on Building Information Modelling
INTERACTION DAYLIGHT / ARTIFICIAL LIGHTING
ON A GRAND SCALE
Musée d’Arts, Nantes, France
The One-Grand Show, Friedrichstadt-Palast, Berlin, Germany
Outdoor Lighting Application Centre, Lyon, France
School of planning and architecture, New Delhi, India
End-to-end street lighting management system
ARTIST IN THE FRAME
Hercules Segers retrospective, Rijksmuseum, Amsterdam, NL
Summary of research by The Economist Intelligence Unit
DISCUSSION WEBINAR WITH THE LIGHTING UNIVERSITY
qualityÂ By Ruth Slavid
© Lodestar © Lodestar
“If the people working in that building don't know how to use it, then it won't be maintained that way”. Jeff Shaw
Achieving long-term success in lighting projects is highly dependent on having the correct maintenance regime. In this round-table discussion, three designers with very different backgrounds discuss their level of involvement in this process, and the role that they believe designers can play in ensuring their projects are maintained well.
Ruth Slavid: I would like to invite each of you to tell us who you are. Jeff Shaw: I'm an associate director with Arup, the lighting design practice within the big engineering multi-disciplinary engineering firm; I get involved in lighting design for all sorts of building types; I've done many museums and galleries over the years; I'm currently also involved with some rail stations Thorsten Bauer: I'm the founder of Urbanscreen, which started as an artists’ collective but nowadays is a firm in the field of media art and projection mapping. Paul Gregory: I'm an architectural lighting designer in New York City. I started Focus Lighting there about thirty years ago and we have thirty employees. We do specialty projects, hospitality and retail, museums and large-scale exteriors.
I'm interested to know how you ensure that your design will be maintained properly. Paul Gregory: I think that it's the lighting designer's obligation to get the owner to understand and appreciate the design, and be dedicated to maintaining it. Jeff Shaw: It’s also about speaking to the people who are going to be running the building on a day-to-day basis, and getting their buy-in to what you're trying to do. Because otherwise you could have something that looks beautiful on day one, but if the people working in that building don't know how to use it, then it won't be maintained that way. Thorsten Bauer: There are also a lot of new technologies coming into lighting design, and this also needs new strategies for the maintenance. So for a lighting designer, to maintain this system you have to provide different disciplines and very specific knowledge.
© Lodestar © Lodestar
“It’s the lighting designer’s obligation to get the owner to understand and appreciate the design”.
“To maintain this system you have to provide different disciplines and very specific knowledge”. Thorsten Bauer
Jeff Shaw: Just because you're not having to re-lamp for the first ten years of the life of the building doesn't mean you shouldn't occasionally go up and clean. You accidentally clean luminaires when you go in and change the lamp, but if you're never going to touch that luminaire for ten years, then potentially the build-up of dirt and dust is going to have a significant effect. It’s something that has to be thought through in the maintenance cycle of the building. How much is it the responsibility of the lighting designer to give that information to the client? Jeff Shaw: I think there's a responsibility of the lighting designer to build maintainability into their design; it is also about engaging with the client and making sure they have that information. We worked on the Broad Art Museum in LA, and we actually created a little booklet for the client on how to maintain and operate his lighting in the galleries.
Paul Gregory: The problem is to get them to read the booklet. We did a store called Seven for all Mankind, a blue- jean company, and they would rework the store every month; with new product layout, but they would not rework the lighting. We trained them individually, got up on the ladders and showed them how to do it; but when we went back next month, they still hadn't done it. Their mindset was all about the product, not about the lighting. How does virtual reality influence your lighting design practices? Thorsten Bauer: When we did the Hamburg Klubhaus Media Facade, which was basically a lighting system which could show off pictures, we asked our technical provider to build a virtual model where you can actually walk through the building and stand and have different views of it. We needed that because it was such a complex system that aesthetically we could not imagine what we were doing there when we were programming; we had to really see what we were doing and this helped a lot.
© Wolgang Volz
© Wolgang Volz
© Kelly Hannon © Kelly Hannon
320° Licht, Gasometer, Oberhausen, Germany Creative director Thorsten Bauer, UrbanScreen
Aura nightclub, Atlantis, Paradise Island, Bahamas Architect Jeffrey Beers International Lighting designers Focus Lighting
Jeff Shaw: Some warehouses give all their staff augmented reality goggles, so that when they're supposed to go and look for a certain product they're directed by things that are projected in front of their eyes. You could imagine a maintenance regime in the future in a facility whereby they're told what colour-temperature lamp to put in by a little symbol in the corner of their eye while they're maintaining the fixture. I'm interested both in how manufacturers’ advances in technology affect what you will design, and also how you communicate your needs and can actually have an impact on what is manufactured. Jeff Shaw: Now you have to actually specify step by step the performance of the product. But the more we do that the more we
push manufacturers to produce what we need; in a museum you need particularly high colour rendering, a good spectrum of light and good consistency of colour because if you've got a row of fifteen spotlights they all have to look the same. So by specifying that you limit the number of manufacturers that can supply that to the ones that are already able to do it, but then we have to work with the manufacturers to make sure we're specifying realistic targets at the same time. Thorsten Bauer: I think the future will be totally digitalised with possibilities that are endless, but on the other hand shrink down to the essence of what we need in our daily lives, so the digital will adapt to our needs, not we will adapt to the world of the digital.
Learn more Watch the complete recording of the interview on Philips Lighting University channel: philips.to/2lxx4Tz © Wolgang Volz
Websites www.arup.com/services/lighting_design www.focuslighting.com www.urbanscreen.com www.philips.com/lightinguniversity
The Broad, Los Angeles, United States Architect Diller Scofidio + Renfro
© Hufton + Crow © Arup
© Wolgang Volz
Lighting designers Arup
Â© James Ewing
SAN FRANCISCO BAY BRIDGE, CALIFORNIA, UNITED STATES
dreams By Ruth Slavid
© Lucas Saugen
© Lucas Saugen © Lucas Saugen
Light artist Leo Villareal has given San Francisco’s Bay Bridge a new level of significance through The Bay Lights, an artwork that is endlessly fascinating and never predictable.
12 LIGHT SOURCE
© Lucas Saugen
“It’s like tuning a musical instrument.”
San Francisco has a new icon, thanks largely to the efforts of light artist Leo Villareal. Whereas the Golden Gate Bridge was always seen as the main symbol of the city, now the previously neglected Bay Bridge has taken its place, representing the city on local news broadcasts nightly and sports casts nationally.
Villareal spent ‘a few months’ thinking about the bridge and when he came up with the idea of the LEDs on the cables, he create a visualisation which people found ‘very powerful’ – not least in helping ILLUMINATE to raise the $8 million that were needed for the project.
Villareal’s lighting of the suspension bridge uses 25,000 individually controlled LEDs along the cables on the north side of the 2.9km long structure to create a randomly changing sequence of abstract patterns. The Bay Lights has been erected not once, but twice, because public disappointment when it was taken down after its initial two-year running time led to a campaign to reinstall it. On 30 January 2016, the lighting was inaugurated for the second time, to coincide with the Superbowl – and this time it is permanent. The idea initially came from Ben Davis of ILLUMINATE, the not for profit organization that worked with the California Department of Transportation (Caltrans), knowing that something should be done to celebrate the 75th anniversary of the bridge.
He describes the lighting as ‘greyscale’. Each individual light can have 255 levels of brightness. He decided at the start that he did not want to use colour, and nor are there ‘scenes’ in the conventional sense of many lighting projects. “I write my own custom software,” Villareal explained. “I use ideas of artificial life and imaginary behaviour. I set up certain conditions and let the computer run through them. When I see something compelling, I use it.” In this way, through sitting with his laptop and creating the patterns on the real bridge, and looking at them from different vantage points, Villareal settled on the sequences that he found the most evocative. “I had to sit in front of the piece and respond to it,” he said. “It’s like tuning a musical instrument.”
LIGHT SOURCE 13
“My favourite thing is to see people on the Embarcadero looking at the lights. They start talking to the people next to them.” Leo Villareal
While a great deal of effort went into determining the sequences, the order in which they appear and the duration of them is entirely random. This means that there is no rotation, no sense of inevitability, and that it is a pure art work, not one that responds to seasons or events. Not surprisingly, Villareal and ILLUMINATE has also resisted potential sponsors who wanted to convey their own messages or images.
© James Ewing
Using LEDs for the installation was essential, Villareal said. This was partly for environmental reasons and partly because of the long life. He chose eW Flex products because, he said, “I have used them for many many installations.” There were more than two miles of fibre-optic cable joining the individual lights, and the installation was challenging, taking five months the first time.
14 LIGHT SOURCE
All the installation had to be done during the quiet times, between 11pm and 5am, so that it was always in the dark and often in wind and rain. Contractors were hanging above the road on one side and above the water on the other. The second installation, said Villareal, was faster, as everybody had a better understanding of what they were doing. In addition, he said, “we worked very closely with Philips to re-engineer the lighting.” The result is that the lights are now brighter and are angled so that they are visible from both sides of the bridge. This has been an immensely ambitious project, but one that natives of San Francisco evidently believe is worth it – as does Villareal. “My favourite thing is to see people on the Embarcadero looking at the lights. They start talking to the people next to them.
Artist Leo Villareal Project management ILLUMINATE, the California Department of Transportation, and the Metropolitan Transportation Commission For full list of project credits www.thebaylights.org
It is like a digital campfire. It is very exciting and open-ended. People can’t help trying to find patterns. Before you know they have become involved in trying to understand it.” “This is”, he says, “the most inclusive kind of public art, in that everybody can appreciate it, whatever their age or level of education”. But for those who understand something of computer programming and lighting, there is an additional layer of marvelling to be done.
© James Ewing
Villareal already had a high profile before The Bay Lights, but this has really put him on the world stage. It has certainly helped him to win his next and even more ambitious undertaking, “Current” for the Illuminated River Foundation, where, working with architect Lifschutz Davidson Sandilands, he will design the lighting for not one but up to 17 bridges in London on the River Thames.
LIGHT SOURCE 15
Don’t miss the boat with
B I M
© Mecanoo architecten
By Paul Haddlesey
© Mecanoo architecten
© Mecanoo architecten © Mecanoo architecten
BIM is very much a ‘hot topic’ but how is it being used for lighting design now, and what are its implications for designers in the future? Luminous magazine spoke to a number of lighting professionals to gauge their experience so far and their expectations for the coming years.
Page 18-21: Tainan Public Library, exterior and interior, Taiwan Lighting and illuminance simulations during daytime and nighttime Architects Mecanoo architecten
Although Building Information Modelling (BIM) has only become a commonly used term in the last few years, it began as a 3D modelling tool in the 1980s. Then it was employed principally by architects and used almost exclusively for the construction elements of a building. Now the aspiration of BIM enthusiasts is that this will become the de facto way of designing every aspect of a building, including the lighting. Moving to BIM design and using ‘BIM objects’ with embedded data will deliver a number of benefits. “One of the benefits of putting lighting information into the model is that it enables ‘digital testing’, carrying out lighting studies before construction work begins,” observes Johan Hanegraaf of Mecanoo architecten, one of the first architectural practices to put lighting information into models. “Clients are now becoming more aware that this approach reduces problems during construction. The in-built information is also useful for managing the building subsequently,” he adds.
© Mecanoo architecten
© Mecanoo architecten
Rob Honeywill of lighting designer MBLD agrees: “BIM is great for identifying clashes and co-ordinating services. The designs are output in BIM format and sent to a BIM controller, who identifies any clashes and sends the design back for adjustment. The fact that this all happens before work on site begins avoids problems and reduces costs.” BIM can also help to facilitate visualisation of proposed designs, suggests Michiel van Wijk, BIM manager at consulting engineer Deerns Groep BV. “A major benefit is sharing the proposed design with people who are not lighting specialists, such as facilities managers, final clients and people who are going to use the facility – doctors or nurses in a health facility, for example. It is also beneficial for sharing information with other members of the project team.” Exploiting the visualisation capabilities of BIM can also lead to greater accuracy, as well as enabling designers to try out different design concepts. “BIM began with integration of information about structure, mechanical services and materials but there was a gap with lighting,” recalls Mecanoo’s Friso van der Steen. “We would
(1) Johan Hanegraaf, Architect and Design Technology Specialist, Mecanoo architecten. (2) Friso van der Steen, Director International Projects, Mecanoo architecten. (3) Rob Honeywill, Managing Director, Maurice Brill Lighting Design (MBLD). (4) Michiel van Wijk, BIM Manager, consulting engineers, Deerns. (5) Christian Willemsen, wholesaler, Technische Unie.
therefore render the model and use Photoshop to create what we hoped was the correct representation of the lighting. With BIM, the lighting information can be added, making the graphic representation more accurate. “For example, in designing the Tainan public library in Taiwan, where we worked closely with Philips, we wanted the building to look as though it was floating on columns. Modelling with BIM enabled us to try different lighting designs to ensure we got the desired effect,” he adds. Taking advantage of these opportunities is dependent on the appropriate product information being readily available for incorporation into the BIM. “A lot of engineers are now using Revit, so it adds value if they can put mechanical and electrical products into the model,” says Christian Willemsen of wholesaler Technische Unie. “Many manufacturers of heating and sanitary products are already providing BIM objects with embedded data and we are already seeing that those manufacturers are more likely to be selected for certain projects. The lighting sector has been slower to develop BIM libraries but those that get ahead of the game will clearly have a competitive advantage.”
All of the freely downloadable files are fully scalable and incorporate the properties that designers need to adjust the model to their own needs. They are supported by a series of demonstration videos to show application of the files in a BIM environment.
© Ronald Tilleman
Philips Revit libraries Philips Lighting is committed to supporting and promoting the wider uptake of BIM and has developed an extensive libraries of Revit files across a broad range of indoor and outdoor lighting products. For enhanced ease of use, a recent upgrade to the Philips Lighting Revit library allows users to filter by application area, luminaire category and family name.
Philips Lighting Revit files are available in Europe BIM Revit library and online e-catalogue: philips.to/2oFMBNV Philips Color Kinetics BIM Revit library: bit.ly/2q9vmph United States BIMobject website: bit.ly/2p0356S
The Edge headquarters, Amsterdam, The Netherlands Exterior and interior of the atrium is an integral part of the building design Architects PLP Architecture, OeverZaaijer Interior architects Fokkema & Partners Engineers Deerns Learn more in Luminous magazine #16 bit.ly/2pgi7Ge
Moving forward with BIM While many designers and specifiers see the benefits of BIM, ultimately it will be growing acceptance from end clients that will drive broader use of the concept. “The important thing is for customers to understand what they are asking for,” warns Michiel van Wijk. “Some may have been advised to ask for BIM but do not fully understand the implications, so there is a need for more education.”
which have the timescales and the project teams to make effective use of BIM. “BIM is problematic for small-scale lighting projects such as restaurant and shop fit-outs because there is no time for that level of co-ordination – they need simplicity,” Rob Honeywill explains. “Using BIM requires a different way of thinking but eventually all lighting projects are likely to go down the BIM route because of the benefits of scheduling and tying in with other services.”
However, manufacturers also have a role to play. “With only a few clients demanding BIM there is less pressure on manufacturers to invest in the development of BIM objects. This, in turn, discourages end clients as they see that not all of the products are available,” notes Christian Willemsen.
Time to get ready There can be no doubt that BIM is not only here to stay but will play an increasingly important role in lighting design in years to come; there are simply too many potential benefits for it to be ignored. This means that those involved in lighting design need to ensure they are ‘BIM-ready’, with the capabilities to easily integrate their designs into the model. Those that don’t may well find they don’t get much further than the pre-qualification phase for any project where BIM is being used.
BIM use continues to grow, which puts increased pressure on the supply chain to ensure their products are ‘BIM-ready’. Initially this growth is likely to be focused on bigger projects,
Websites www.mecanoo.nl www.mbld.co.uk www.deerns.com www.technischeunie.com
Â© Ronald Tilleman
ÂŠ Olivier Middendorp
HERCULES SEGERS EXHIBITION, RIJKSMUSEUM, AMSTERDAM
Artist in the
frame By Ruth Slavid
An exhibition at the Rijksmuseum in Amsterdam presented the work of a little-known artist, Hercules Segers, in a manner that pinpointed his unique talents and approach. Key to this was the lighting, and in particular the framing of each individual piece using light as a tool. When the Rijksmuseum in Amsterdam staged a retrospective of the work of the artist Hercules Segers, it wanted to highlight the uniqueness of his work. Although Segers is described as an ‘artist’s artist’ (Rembrandt owned eight of his paintings) he is little known today. In addition his work was distinctly different to that of most artists of the Dutch Golden Age, developed from imagination rather than observation, showing mountainous landscapes that he could never have seen. In addition, he was a master printmaker, using skill and innovation to create prints with a freedom that was unsurpassed for several centuries. As Christian Borstlap of the studio Part of a Bigger Plan, designer of the exhibition, put it, “some of his drawings and paintings became almost abstract paintings.”
© Olivier Middendorp
For Borstlap the pleasure in working on the exhibition, which ran from October 2016 to January 2017, was the ability to display Segers’ drawings in detail. “As a designer, I believe that everything leads back to drawing and painting,” he said.
He worked closely with the exhibition curator. “In the end,” he said, “you’re looking for the same thing – the best possible presentation of Segers’ work. In most cases the designer acts like the visitors’ advocate.” Often this means keeping the text to a minimum, and allowing the visitors another “way in” to the work. In the case of the Segers exhibition this included a dramatic introduction in the form of a video, narrated by actor John Malkovich and projected onto a staircase that was 9m wide and almost 6m high. “In each of the exhibition rooms,” Borstlap said, “we constructed an abstract landscape in which visitors could wander and wonder. Painting techniques used to create an illusion of depth inspired us to play with the color on the walls and floors, as well as the lighting.” One of the major effects was to frame the paintings with light against a dark background. Lighting designer Beersnielsen carried out tests with Borstlap and the curators to discover if this would be possible, particularly given the small size and delicate nature of the works. Many were no larger than a postcard (approximately A5) and, because they were original works, often on paper, the light level could not exceed 50 lux. In the case of some of the pieces on loan, this dropped to 40 lux.
Sjoerd van Beers of Beersnielsen explained, “The challenge was to find the right framing projector as the throwing distance is almost 7 meters. This means that with a lens of 20 degrees and a distance of 7 meters and an object smaller than A5, the framed opening in the fixture is less than 1mm by 1mm. Other challenges were that the rooms would be as dark as possible and the passe-partout around the drawings would be a light color. The framing had to be done very precisely. Also there was the fear that the light could be trembling.”
“The biggest challenge,” said van Beers, “was the trembling of the building, which caused the light on the painting to tremble as well: we had to fix the tracks and we fixed the spot with additional ties to the rails.”
In order to maximise the contrast, the background was made as dark as possible, with dark-grey walls and carpets, and black-out blankets over the skylights. To create some depth in the space, some of the walls were painted a lighter grey and illuminated with grazing lights. Text panels were subtly backlit and a small amount of ambient light was added to allow visitors to walk around safely and read the texts.
The project was quite challenging. Whereas typically Beersnielsen takes 30 hours to light a show in this exhibition space, the Segers exhibition needed 60 hours to illuminate the 120 works. But it was worth it. Borstlap said that there were many five-star reviews with the design mentioned and “many people said it was the bestdesigned exhibition in the museum so far.” And they voted with their feet, with numerous repeat visits.
Beersnielsen tested and compared a number of fixtures before selecting the StyliD PerfectBeam Framing Projector. The product had been customized to fit the challenging requirements of this exhibition: the light output was increased; straight knives were used instead of curved knives and there was a lens with a moveable focus.
Hercules Segers may still be a mysterious artist, but he is less unknown thanks to this exhibition – and to its lighting, which not only allowed visitors to concentrate on the pleasures within the tiny pictures but also created an appropriate atmosphere.
The day before the exhibition opened, the team made a decision that the original intention, to simply frame the pictures themselves, was not feasible, and instead the framing included the passepartout as well.
The challenge was to find the right framing projector as the throwing distance is almost 7m Client Rijksmuseum Exhibition design Christian Borstlap, Part of a Bigger Plan
Lighting designer Beersnielsen Luminaires Philips StyliD PerfectBeam Framing Projector Customization by Ilti Luce Lighting controls Smart bluetooth interface
Websites www.rijksmuseum.nl www.partofabiggerplan.com www.beersnielsen.nl www.philips.com/museumlighting Learn more in Luminous magazine #12 bit.ly/2oGVPdL
SEGERS EXHIBITION 25
MUSÉE D’ARTS, NANTES, FRANCE
Interaction between Daylight and Artificial Lighting By Isabelle Arnaud
Â© Franck Dubray Idris Ekinci
© Max Fordham
© Musée d'arts de Nantes - C. Clos / Architecture Stanton Williams
© Musée d'arts de Nantes - C. Clos / Architecture Stanton Williams
Sectional model of the Nantes Arts Museum. Stanton Williams architects
Nick Cramp - senior partner - and Jocelyn Urvoy, project lighting engineer from Max Fordham LLP, have worked with architect Stanton Williams to design and implement the natural and artificial lighting strategy for the renovation and extension of the historic Musée des Beaux-Arts. Stanton Williams’ design has improved public access throughout the museum and transformed its image from a closed and introverted institution to one that is open and transparent, fully engaging with its urban context. The new extension is glazed with a translucent laminated marble, drawing light into the building. The laylights that used to illuminate the Palais galleries have been replaced by complex superimposed layers of glass, innovative stretched fabrics and controllable blinds. The result is a ‘passing clouds’ effect that retains and optimizes natural light, connecting visitors with the outside environment. The artificial lighting scheme helps create a common identity for all these different spaces, carefully grazing historic stone walls and new concrete structures alike, matching linear extrusions of LED lighting with the grand skylights and glazing. How did you create the interface between daylight and artificial lighting on this project? Nick Cramp: Our client wanted to make better use of daylight and also have a flexible installation of museum lighting.
We designed an intelligent system that balances artificial lighting and daylight. The quantity of natural light is controlled but with a soft touch: on especially bright days, blinds start to close to preserve the artworks, but levels are usually allowed to vary in order to embrace the changeability of light from the sun and sky in both tone and intensity. Glass of varying transmission levels is used above the patio and for different orientations, to make the light more consistent and avoid overheating. Between the galleries and the external glazing, there are perforate blinds and diffusing membranes that help manage brightness and even out the light. We used Radiance with Cumgensky, and 3ds-Max, for instantaneous and cumulative daylight analysis, and modelled the artificial lighting with Rhino and Diva running Grasshopper. For analyzing the effect of different glass and stretch-surface build ups, we used in-house optical tools and plenty of practical experimentation.
ARTS MUSEUM 29
© Max Fordham
What filters did you use to achieve the right quality of light in the space? Nick Cramp: We wanted to give all the spaces a lively ambiance. A series of elements was used to deliver sufficient diffusion but still plenty of characterful light. Abover each gallery there is a ‘top hat’ which contains the layers needed to manage the acoustic, lit and thermal environment. It contains etched double glazing, which gently diffuses direct light but keeps it directional. Beneath this, a micro-perforated acoustic layer and two layers of a stretch membrane manage the distribution of light. Why did you embed LED light in the architecture of the rooflights? Jocelyn Urvoy: With such large rooflights, we chose to keep the lighting above rather than add clutter to the gallery space below. We needed some soft lighting which could dim and which had excellent energy efficiency: the GentleSpace system makes the change from natural to artificial light in a very subtle way.
30 ARTS MUSEUM
Section gallery with light filtration and illuminance simulations of the Nantes Arts museum
What is the ambiance in the galleries? Nick Cramp: Each gallery deliberately has a different atmosphere, from large spaces lit coolly by arrays of light boxes in Le Cube, to the classical halls in the Palais bathed in sky light on the first floor. On the ground floor, there are some galleries lit mostly by the exhibition spotlights. In the basement, light is often focused on walls for a different effect. In what way is the light part of the museography? Nick Cramp: The different character of the spaces helps define the journey through the museum. Spaces displaying older parts of the collection, for example oil paintings, are treated with warm light focused onto the canvases to help lift the colors. Contemporary works are positioned in bright ambient spaces which have a more subtle style of emphasis. The architect worked with the curatorial team on the museography, and we were able to set up different typologies of lighting, bringing out paintings from storage to test how they might be lit in situ from a wide range of options on site. Depending on the particular
© Franck Dubray
© Max Fordham
© Max Fordham
© Franck Dubray
© Max Fordham
Section Le Cube new building. Lighting design principles in the Nantes Arts Museum. Stanton Williams architects
artwork, we might have accent lighting, often a single bold key light for drama, or simply use diffuse light in an ambient space. Tone is important and we have tried to balance cooler light near daylit spaces and as backlight in long views, with warmer lighting on the works themselves.
us freedom to set up different scenes throughout the entire ground floor. It can be subtly tuned to a wide variety of scenarios whilst retaining its visual neutrality. The bespoke, high-performance reflector effectively acts as an indirect wall washer, transforming the upwards light sources into a continuous glowing groove.
The lights are controlled at the StyliD LED spotlight and the barndoor attachments allowed us to closely focus on the target.
How did you light the staircases and corridors? Jocelyn Urvoy: The monumental staircase in the museum retains its original glazed rooflight, which was well suited to the lighting of the bas-relief and the fresco opposite.
What is the ceiling entrance lighting design? Nick Cramp: The entrance hall attempts to acknowledge the architecture - a double-vaulted stone ceiling - and create a visual flow towards the internal patio zone. A mix of LED strips, concealed in the cornices, spotlights to the features and linear sources edgelighting the acoustic screens provide the right balance between reflected and direct light. Jocelyn Urvoy: The ground-floor galleries were provided with a specially made Philips luminaire that runs the length of the ceilings: fitted with tunable fluorescent high-output light sources, it allowed
32 ARTS MUSEUM
The lighting for the new Cube wraps around its walkways, both serving visitors and providing architectural backlighting at night. The Modular luminaires, with fluorescent or LED sources, are used in most public circulation areas, guiding visitors from the exhibition spaces to other rooms or between the buildings. They fit well with the architecture and help smooth the transition between bright ambient daylight and more purposed, functionally lit zones.
© Musée d'arts de Nantes - C. Clos / Architecture Stanton Williams
Client Ville de Nantes, Nantes Métropole Execution Bouygues Bâtiment Grand Ouest Museum curator Sophie Lévy, Director, Musée d’Arts de Nantes Blandine Chavanne, Director till October 2016 Architect and musegrography Stanton Williams Wayfinding and identity Cartlidge Levene Lighting design Max Fordham LLP
Why was LED lighting used in museum spaces? Jocelyn Urvoy: LED lighting was used, where affordable, to minimize operational costs and energy consumption in the long term. Good color rendition was also very important, but in such a complex and long project, we often had to revisit the initial design intent to make the most of the newly available products. What is the feedback from the architect? And from the client? Jocelyn Urvoy: So far, the feedback is enthusiastic. The Palais and the new galleries have a lively rhythm of daylight variations which we recognise from the outside world. This is a strong asset, one that deserves to be experienced at different times of the day and the year.
Mechanical engineer Max Fordham Electrical engineering Max Fordham, GEFI Ingénierie Installer INEO Lighting solutions Philips Lighting StyliD projectors GentleSpace² Eco LED Bespoke linear luminaires Modular SL Mini Poly in Websites www.museedesbeauxarts.nantes.fr www.maxfordham.com www.engie.com
ARTS MUSEUM 33
THE ONE GRAND SHOW, FRIEDRICHSTADT-PALAST, BERLIN, GERMANY
On a Grand
scale By Lisa Middlehurst
Â© Ralph Larmann
ÂŠ Ralph Larmann
ÂŠ Ralph Larmann
THE ONE Grand Show certainly lives up to its name. The spectacular show includes more than a hundred dancers, aerialists, singers and acrobats. All clad in daring costumes created by Paris fashion designer Jean-Paul Gaultier. We asked Emmy Award-winning lighting designer Peter Morse and lighting programmer Benny Kirkham how they use light to bring the show to life.
36 THE ONE GRAND SHOW
What attracted you about the production? Peter Morse: Certainly the location. Berlin is a beautiful city with a lot of history. But at the initial meeting I was also attracted because the people involved were very artistic and devoted to the project. It also required extremely ambitious technology from the point of view of the audience and of the Cirque de Soleil-type performances that happened on a much grander scale.
It’s a great venue, but did it present any challenges? Benny Kirkham: It is both a difficult theater to light in, and a difficult show to light. It’s very dynamic with dancing and some amazing and intricate choreography. The aerial acts have challenges of their own, from a safety and artistic perspective; there’s lots of music in the show and it moves very quickly. Peter Morse: The challenge I had was the gear that was available. I had to prioritize my choices as to what would work best in the widest possible assortment of applications. About 80% of the lighting gear already existed in the venue, so I had to find a way to redistribute and reposition everything to my advantage. Then I needed to come up with new gear that was not only useful for the application, but also affordable and within budget.
Each act happens at various heights on the stage. How do you light them all with equal impact? The technology I looked for in putting this production together was automated lighting. And lights that would give me the most bang for the buck. I needed lights that would work at the trim height at which the production operates. The lighting trim was in excess of forty feet in many places and I was illuminating dancers and scenery at a distance far in excess of sixty to eighty feet. So I needed efficient, relatively inexpensive, yet top-of-the-line gear. You’re using a lot of Philips lamps and fixtures. How have you found them? Peter Morse: The Philips Platinum bulb was actually in residence. For Philips fixtures we’re using the Vari-Lite 3000 spot, the Vari-Lite 3500 spot and the Vari-Lite 1000 ERS light. They’re typical of Vari-Lite – very high output, very efficient and the color temperature is consistent. I couldn’t be happier.
© Ralph Larmann
The Friedrichstadt-Palast in the east of Berlin is one of the most popular venues in Berlin. It has the largest theatre stage in the world, with a main auditorium that seats around 1900 guests – making it a fitting venue for one of the most ambitious productions ever staged. But it is also an enormous challenge for the lighting designer and programmer tasked with illuminating this visual spectacle. Philips Entertainment lighting filmed behind the scenes at the production rehearsals to discover the lighting story behind this incredible event.
“You’d swear it’s a dream sequence – that’s how beautifully the production is put together.”
© Ralph Larmann
© Ralph Larmann
Producer Dr. Berndt Schmidt
Benny Kirkham: It was my first experience with Platinum and I was completely blown away. It was an amazing experience to see what those lamps could do. A small, quick, extremely bright light – we all wondered what was making that happen. It made everyone reconsider what a small light could be.
Theatre lighting is constantly evolving. Where do you find your inspiration? Peter Morse: The technology that’s available always expands the mind and the vision. But I also enjoy going to the various conventions, or being shown the latest gear, because that expands my imagination – as it does that of any other designer.
And do the fixtures live up to the demands of the world’s largest theatre stage? Benny Kirkham: We’re getting a lot of good work out of them, even though it’s a very wide stage. We have a very good low side light coming from them. They are small and agile and are very, very bright and clear. They’re a workhorse in this system.
And finally, how will your lighting add to the spectacle of THE ONE Grand Show? Benny Kirkham: I hope people like it. We’ve put a lot of work into it. It’s visually interesting, the music is good and the costumes are fantastic. We’ve done our part to make it a good show as well. Peter Morse: It’s very exciting. If you look at the renderings, you’d swear it’s a dream sequence – that’s how beautifully it’s been envisioned and – hopefully - presented and illuminated.
Show concept, director, set design idea Roland Welke Music director Daniel Behrens Show couture-design Jean Paul Gaultier Lighting design Peter Morse Video design Marc Vidal Light programming Benny Kirkham, Gertjan Houben Lamps Philips Platinum Luminaires Vari-Lite 3000, 3500, 1000 ERS Websites www.palast.berlin www.petermorse.com www.philips.com/onstage
THE ONE GRAND SHOW 39
Â© Philips Lighting
Empowering cities The Economist Intelligence Unit
Empowering cities: The real story of how citizens and businesses are driving smart cities is a research program developed by The Economist Intelligence Unit (EIU), on behalf of Philips Lighting, to assess the progress of cities toward adopting smart technologies.
ÂŠ The Economist Intelligence Unit
What digital tools citizens and business are using For citizens to participate in the evolution of city services, digital tools allowing them to communicate with government will be critical
42 LIGHTING TRENDS
It brings together the views of citizens, businesses, government leaders and experts, recognizing that the participation of all stakeholders is needed to realize the potential of the smart city. In May 2016 The EIU conducted a survey of 1,950 citizens and 615 business executives in 12 cities: Barcelona, Berlin, Buenos Aires, Chicago, London, Los Angeles, Mexico City, New York City, Rio de Janeiro, Shanghai, Singapore and Toronto. Between150 and 185 respondents were interviewed from each city; of these, about half were aged 18-34 and the other half were aged over 35. In terms of gender, they were evenly split. Business respondents were drawn from a range of seniorities, functions, industries and company sizes. Digital technologies are the lifeblood of todayâ&#x20AC;&#x2122;s cities. They are applied widely in industry and society, from information and communications technology (ICT) to the Internet of Things (IoT), in which objects are connected to the Internet. As sensors turn any object into part of an intelligent urban network, and as computing power facilitates analysis of the data these sensors collect, elected officials and city administrators can gain an unparalleled understanding of the infrastructure and services of their city. However, to make the most of this intelligence, another ingredient is essential: citizen engagement. Thanks to digital technologies, citizens can provide a steady flow of feedback and ideas to city officials. While this helps cities fix problems and provides powerful new insights into the functioning of urban services, it also shifts the
relationship between city governments, businesses and residents fundamentally. If citizens can provide feedback on potholes, streetlight outages or uncollected waste, they may also expect to be able to voice concerns about bigger issues, such as the city budget, for example, and seek more direct engagement in the political process. This trend has important implications for policymakers as they pursue smart city strategies. They need to do more than invest in hardware and software by increasing their capacity to use this equipment. They must also bring about a shift in the culture of their organizations, moving away from an exclusively top-down approach to one in which all stakeholders have a voice in shaping the city of the future. Capturing many of these developments, this study by The Economist Intelligence Unit (EIU), supported by Philips Lighting, investigates how citizens and businesses in 12 diverse cities around the worldâ&#x20AC;&#x201D;Barcelona, Berlin, Buenos Aires, Chicago, London, Los Angeles, Mexico City, New York City, Rio de Janeiro, Shanghai, Singapore and Torontoâ&#x20AC;&#x201D;envision the benefits of smart cities. The choices of the respondents to the survey reflect the diverse nature of the challenges and opportunities facing different cities, from older cities in mature markets, where technology is at work with infrastructure that may be centuries old, to new cities in emerging markets, which have the opportunity to incorporate digital technologies as they grow.
Coupled with expert perspectives, these insights paint a fresh picture of how digital technologies can empower people to contribute – giving city officials a roadmap to smart city life in the 21st century. The key findings include the following: Smart cities have active citizens, but there is room for further engagement Citizens feel they can guide the improvement of infrastructure and services in three top areas: social services, such as healthcare and education; pollution reduction and environmental sustainability; and waste collection, treatment and recycling. Yet when it comes to smart city projects specifically, few respondents (15%) believe they can make any meaningful contributions. “Cities have been quite slow to step into dialogue processes with citizens [on smart cities],” says Jarmo Eskelinen, chief technology and innovation officer at Future Cities Catapult, a London-based center for the advancement of smart cities. According to Mr Eskelinen, some cities have not tapped into the data generated by new urban services or invested sufficiently in their ability to analyze the data they do have.
Digital technologies are already improving city services Almost one-third of respondents (31%) say that digital technology has improved transportation services in the past three years. One-quarter of businesses see it as an area that will be improved in the near future. However, the impact of digital technology goes beyond transportation. From sensors that can receive and transmit information to data-analytics systems, digital technologies can facilitate the realtime or near real-time monitoring of infrastructure such as power and water networks, improving the efficiency of those assets and addressing vulnerabilities before they become problematic. Sarah Williams, director of the Civic Data Design Lab at the Massachusetts Institute of Technology’s School of Architecture and Planning, cites the example of water management, which is becoming more important as climate change leads to more severe and frequent weather events. “It’s essential we know how much stormwater is running off in order to manage it,” she says. “But if we don’t have those data, we can’t do that work.”
believe that it should be investing more heavily in digital technologies that enable businesses to play a role in urban improvements 44 LIGHTING TRENDS
© The Economist Intelligence Unit
Citizens want more ways to interact with their cities While just under one-third of citizens (32%) are currently providing feedback to their local authorities, over one-half say they would like to do so. They prefer the usual suspects—social media and e-mail—as the means to interact with local governments. By comparison, businesses are currently more likely to report problems related to urban infrastructure (41%) and services (32%) in a more traditional fashion. Overall, the desire for digital communication channels and transparency in city services is strong. A large number of citizens (51%) want wider access to digital platforms to enable them to communicate with government; they believe that the expansion of free Internet access in public spaces and more information about smart city projects (both 50%) would encourage them to engage further.
© The Economist Intelligence Unit
of businesses say that improved digital communications channels would encourage them to provide cities with feedback on urban conditions
Using new tools effectively requires more action The survey also reveals an interest in participating in hackathons, events in which computer programmers and others collaborate on software design, or similar events (54%), even though few citizens have ever done so. Some cities are responding, but according to Léan Doody, associate director at Arup, a London-based global design, planning and engineering firm, they need to do more than organize idea-generating events. “You have to have the infrastructure to [turn those ideas into initiatives] in a sustainable way and make sure it’s targeted at specific city problems,” says Ms Doody, who leads Arup’s consulting work on smart cities. “It’s not just thinking of tech as one click fixes all.” While cities are making their data publicly accessible, open data portals have yet to take off, with a relatively small group (10%) selecting these. Even so, while citizens are not interacting with these data directly, many use them via apps for everything from finding schools to checking the status of local transportation. “There’s a limited number of people who love data for their own sake, but they will use the services that are built on top of them,” says Ms Doody.
CITY SURVEY 45
© The Economist Intelligence Unit
Business is a willing partner for smart city initiatives Businesses are keen to facilitate citizen engagement in strategic long-term planning: almost three quarters of executives (73%) say their company would be interested in sponsoring or participating in hackathons and similar initiatives designed to improve city infrastructure and services. They are also demanding more smart city developments as they see the direct and indirect benefits – more than half (53%) of businesses believe smart cities can help to attract top talent, which they believe can impact the bottom line. And like citizens, businesses call for more transparency and more channels of communication when it comes to smart city initiatives. Most executives urge the government to do more to engage businesses in public decision-making around improvements to urban infrastructure and services (58%) and believe that it should be investing more heavily in digital technologies that enable businesses to play a role in urban improvements (63%). The majority of executives (52%) also say that improved digital communication channels would encourage them to provide cities with feedback.
46 CITY SURVEY
of citizens willing to share their personal data for improvements to emergency services and reduced crime
What is clear from the EIU research is that citizens and businesses are keen to work with municipal leaders on improving life in the city, with respondents’ answers showing a willingness to share personal data and engage more fully in smart city developments. However, cities could do more to provide the communication channels and transparency needed to build trust among their inhabitants and facilitate their participation in urban development – and demystify city planning in the process. This will not only take more hardware and software but will also require a cultural shift, moving from seeing citizens and businesses as simply consumers or providers of services to engaging with them as active partners. If they can combine new technologies with a change in mindset, cities can harness the imagination and creativity of all stakeholders as well as increase the efficiency of resource allocation and use, thereby creating more sustainable cities. This is the real promise of the smart city.
Learn more Download the full report on â&#x20AC;&#x153;Empowering Citiesâ&#x20AC;? by the Economist Intelligence Unit and learn more about empowering stakeholder by harnessing digital technology. www.philips.com/empoweringcities
Businesses see benefits to being located in a smart city as it
offers bottom-line benefits
ÂŠ The Economist Intelligence Unit
attracts top talent to a city
Â© Xavier Boymond
OUTDOOR LIGHTING APPLICATION CENTER, LYON, FRANCE
design By Isabelle Arnaud
© Natacha Lameyre
© Aurélie Le Gougouec
(2) Scenes from the storyboard were filmed against a green background to be incorporated in the show at night. Two days of shooting were necessary. (3) Once projected on the screens at night, the space becomes alive: we understand how light can be designed for a myriad of activities and enable human interactions.
© GL Events Audiovisual
(1) The scenario has been created in cooperation with a lighting designer from Ilex. The first step was to draw a storyboard to tell the story of night life in the square.
A new design for human centric lighting The urban city center at the Outdoor Lighting Application Center has been redesigned for its 20th anniversary. Ilex landscape architects, GL Events Audiovisual and Philips Lighting have upgraded the area with a new design that offers a unique experience of the smart city for professional visitors. OLAC (Philips’ Outdoor Lighting Application Center) comprises three observation areas. “The purpose is to show light in a holistic way and help lighting decision makers to find the appropriate lighting solutions” explains Matthew Cobham, head of the lighting application in Europe at Philips Lighting. But “in 20 years, many changes have occurred in lighting and the central city square needed to be updated to show
how people can interact with lighting”, says Matthew Cobham. The new design started with the renovation of the central square, realized by a landscape architect from Ilex. Designing a new urban layout with contemporary materials was key, in order to show how connected light can enable human interaction with the public realm. One of the biggest challenges was to bring life to this artificial environment. Light has an impact on people, and creates a rich nocturnal life. A system of video projection designed with GL Events Audiovisual makes it possible to demonstrate different human behavior, depending on the time of night, the users of the space and the different light settings.
“It shows how lighting can add value in a city center, get people involved and simplify the work of technicians in cities”, says Natacha Lameyre. The objectives “were to show how connected light can be a powerful resource for cities and citizens,” explains Natacha Lameyre, Experience designer Philips Design, “which not only creates dynamic lighting effects according to different moments of night or places but also allows citizens to interact with the lighting, meeting people’s needs. For example, we see during the demonstration how light can engage people in their urban life, contribute to the local economy or help cities to maintain efficient operations and fresh light content for their citizens.”
© Xavier Boymond
Lighting designer Aurélie Le Gougouec, Ilex Landscape architect Jean Claude Durual, Ilex BET video-projection GL Events Audiovisual
© Xavier Boymond
BET roads and networks Odissee BET dry networks L’Itec Lumière Project manager Natacha Lameyre, Philips Lighting Installer Acea Execution Groupe Brunet TP Lighting controls Philips ActiveSite
Please contact your Philips representative if you want to visit OLAC. We will be delighted to welcome you.
© Subhomoy Halder
© Subhomoy Halder
© Subhomoy Halder
© Subhomoy Halder
© Subhomoy Halder
© Subhomoy Halder
© Subhomoy Halder
SCHOOL OF PLANNING AND ARCHITECTURE, NEW DELHI, INDIA
Inspiring the next generation By Ashish Bahal
A hands-on IALD workshop in India gave architecture students the opportunity not only to learn about light but also to see through practical experience how they could marry it with their architectural designs.
Architecture students in India were given an unrivalled opportunity to explore and understand the potential of light at a lighting workshop organized by the International Association of Lighting Designers (IALD) and School of Planning and Architecture (SPA) in New Delhi, and supported by Philips. India. Held on 30th Sept and 1st October last year, the workshop helped educate students and emerging professionals about the significance of lighting design. Philips provided technical support and acted as a coach to the student group as well as providing luminaires from the Color Kinetics range - ColorReach, ColorGraze, eW Blast, Color Burst, Color Blast, Vaya Linear and others. Students were introduced to the theory of lighting and its possibilities They then worked in groups to make interventions on a number of sites within the campus of a college in central Delhi, assisted by lighting designers.
Initially the students were cautious but gained confidence as dusk set in they grew more confident as they saw the range of effects that were possible. Later they took over and drove applications like lighting professionals. As part of their presentation to the IALD coaches, they explained their design approach based on context and the ability of lighting effects to accentuate the overall experience in darkness. It was evident that the students were amazed and delighted by their newly discovered ability to marry architecture and lighting. We need more such events to educate the public and professionals about the importance of good lighting.
IALD India Coordinator Amardeep M Dugar Partnering institution School of Planning & Architecture, New Delhi City coordinators Nivedita Sehrawat, Sanjeev Nangia, Design Matrix Sponsors Philips, LSI, Innovative Lighting, vis a vis, Debbas Lighting India, Linea Light, Lumenatix, BDCL Media partnership mondo*arc india Learn more in Mondo*arc india bit.ly/2oG2x2z
CityTouch applications CityTouch is an end-to-end street lighting management system that integrates connected devices, with its intuitive web-based applications. How to specify it?
Lighting management system It offers simple web applications to analyze, plan and maintain workflow management, whilst you can monitor, manage and measure your connected lighting through the applications.
Connect application A remote lighting management tool that lets you measure, manage and monitor all connected street lights securely and remotely through a close to real-time, map-based view using any standard web browser, via your existing mobile network. Connect application
Workflow application A lighting asset management application that offers rich data visualization capabilities and lighting-related workflow management tools. It allows to analyze, plan and maintain public lighting. ÂŠ Point 6
The result is an advanced platform that makes handling your public lighting infrastructure easy to analyze, plan and maintain. Workflow application
How to connect Independent of vendor or luminaire type, Philips CityTouch connects all the city lighting whether itâ&#x20AC;&#x2122;s a new or retrofit public lighting installation. So you can add connected lighting that works today and for the future, your way. CityTouch offers a wide range of connectivity options. Just pick one option that suits your needs, and manage each individual light point through a single dashboard.
CityTouch Ready luminaires
CityTouch connector node
CityTouch connector kit
True plug-and-play solutions. Once installed, the luminaire automatically commissions and locates itself, and starts uploading asset data to your CityTouch system. (Non Americas)
Just simply plug the light weight CityTouch connector node into a standard socket on top of an existing street light and connect to it. (Americas, NZ and AU only)
With the CityTouch connector kit, you can simply upgrade an existing street light by mounting a compact connector kit to the pole. (Europe only)
CityTouch communicates via the existing mobile network: no proprietary networks.
With APIs, customers can integrate CityTouch into their existing systems.
An open system
CityTouch works with almost any type of street light from any manufacturer.
Learn more about the CityTouch www.philips.com/citytouch
SHOWROOM AWARDS 552
FIRST PRIZE PROJECT NAME : Collective Polyphony NAME OF WINNERS : Andras Dankhazi COUNTRY : Ireland
Winners of the CLUE competition ONE FOR LIGHT
For the third edition of its international lighting design competition, the Community Lighting for The Urban Environment (CLUE) invited design students and emerging professionals to reflect on ways to extend the personalization of the private space to the public spaces through lighting solutions. Learn more about the winning projects: www.cluecompetition.com
EDITION 03 SECOND PRIZE PROJECT NAME : SHAPE SHIFTING LIGHTS NAME OF WINNERS : Mina Saadatfard, Zahra Haghi, Hamid Peyro COUNTRY : Iran
THIRD PRIZE PROJECT NAME : Wheel Light NAME OF WINNERS : Helena Trias, Samuel Laguarta COUNTRY : Spain
Sponsored by Philips Lighting University