International Lighting Magazine
CREATING SPACES FOR PEOPLE
ROGIER VAN DE HEIDE (ARUP)
“Lighting is no longer an after-thought”
EDITORIAL Defining space is one of the challenges faced daily by architects and lighting designers. And at Philips Lighting we have invested many years in developing new technologies to assist them. Whether for defining indoor spaces, for work or leisure, for relaxation or business, or for helping create outdoor urban environments that combine beauty and safety, which highlight monuments and architectural features or provide safe street conditions. In this, the second issue of “Luminous”, we will be paying particular attention to this daily challenge. The field of Urban Lighting is, in particular, an area which is receiving considerable attention within our company. As cities realise how lighting can play an important role in creating both ambiance and recognition - and help inhabitants reconnect with the unexpected beauty of their city environment - so Philips is developing new technologies - most notably LED which provide the key, not only to creating new lighting effects, but also greatly reducing energy consumption. As some of our recent projects demonstrate, LED can offer municipalities savings of more than 50% on energy consumption when compared to traditional lighting technologies. But defining space is not restricted to external spaces: in offices, too, lighting can help create user-friendly areas, which contribute to increased productivity while at the same time making people feel more comfortable. In fact, one of our aims is to produce lighting which delights people. And perhaps this is the greatest challenge of all: to place people at the heart of everything we do. Certainly some of the new solutions discussed in this new issue of Luminous clearly arise from our human-centric philosophy. Whether it is making people feel welcome in the vast hall of an airport or railway terminal, or in the intimate surroundings of a hospital room. By thinking first of people and then developing technologies which satisfy the needs of people, we are creating a better environment for both ourselves and future generations. Rudy Provoost CEO Philips Lighting
colofon published by | Philips Lighting BV – Mathildelaan 1, Eindhoven. 5611 BD, The Netherlands – www.lighting.philips.com editor in chief | Vincent Laganier editorial department/Marketing Communications | Marga Janse, Nicole Brekelmans steering committee | Afke Bokma, Peter Halmans, Fernand Pereira copywriting | Jonathan Ellis translations | Lion Bridge graphic design concept | Philips Design dtp | Relate4u printing | Print Competence Center more info | L email@example.com T: +31 (0)40 27 57956 ISSN nr | 1876-2972 12NC | 3222 635 5678
Challenges in lighting design
Development and trends in lighting
LIGHT SOURCE Le Rêve, Las Vegas, USA
INTRODUCTION Creating spaces for people
BLUE SKY THINKING OLED Q&A
SUSTAINABILITY Sparanise Power Station, Italy
PROJECT REPORT Expo Zaragoza 2008, Zaragoza, Spain
SHOWROOM Customer Visit Centre, Best, The Netherlands
PLATFORM Rogier van der Heide, Amsterdam, The Netherlands
PROJECT REPORT Triennale Museum, Milan, Italy
CONCEPT CORNER Flexible Lighting
SNAPSHOT Generali Office Showroom Mercedes Benz Monza / Amsterdam paths The Odeon Theatre Stadium center mall St. Pancras Station Beijing Airport Letzigrund Stadium
PROJECT REPORT The Zénith, Strassbourg, France
GALLERY Ready steady Light, United Kingdom
PERCEPTIONS Urban Lighting
SPOTLIGHT Agenda, Books, Websites
LE RÊVE, LAS VEGAS, USA
“LIGHT REMAINS A SECRET” Interview by Jonathan Ellis
Koert Vermeulen, the Belgium-based lighting designer who hit the headlines with his work for the Las Vegas spectacle ‘Le Rêve’, is passionate about light in all its aspects. In this interview he reflects on his work, his passion, and his aims. “Light is nothing”, he says. “It is energy, perhaps the greatest source of energy we know, and we have the arrogance to believe we can control it. It is intangible. You can feel the earth beneath your feet, you can feel the wind - but light remains a mystery. A secret. Yet without light, our world would not exist. This is its fascination. You see, we never see light – we only see reflected light. Yet it is that reflection that makes things exist. It is the light that is reflected from a building that allows us to see and experience it.” Koert Vermeulen initially established his reputation as lighting designer in the world of music and theatre, and later undertook several artistic projects. “Some people call me a lighting designer, others a lighting artist. I like to think of myself as a lighting enthusiast. When I undertake a project on my own - for example, a light show on the façade of a building - I suppose I am a lighting artist. But when I work on an assignment, I become part of a team - a team that is striving for a collective result. And in a team, I think of myself as a lighting designer. One of the worst things that can happen to me then is if somebody comes to me after a performance and compliments me on my lighting. That means I have failed. Because people – certainly in a theatre – should never be aware of the lighting. It should simply be doing its job of focusing the audience’s attention on what is happening on the stage. “ It was Franco Dragone, the cutting-edge creative talent behind ‘Le Rêve’ who involved Vermeulen in his Las Vegas adventure. “It was quite a transition,” Vermeulen recalls. “Until then, I was working on theatre projects in Belgium with budgets around € 40,000; suddenly, I was involved in a production with a budget of over $ 110 million! And the challenges of the project were enormous. It was extraordinarily demanding, not because of the quantity of light involved, but because of the extreme difficulty level.
“You know, light is a positive energy. And I believe that people working with light are optimistic. Even though light remains the biggest secret of all.”
“The concept included, for example, the use of film and a large swimming pool filled with water as the ‘floor’. The difficulties that created were incredible. We used a special test pool in Paris to try out our effects – research that took nearly a year and a half. In the end, we decided to use LED to bring the water to life. We installed an almost continuous ring of powerful LED fixtures near to the surface of the pool – and with that we were able to produce the effects we were after. “And then there was the dome, and the fact that the production would be in-theround. Early on we made the decision that every single person in the audience would have an equal view of the production. This meant that many things I would normally do in a theatre were no longer possible. There was, for example, no proscenium arch which I could use to hide my lighting equipment. I couldn’t use front lighting, because that would become backlighting to people on the other side of the audience. It was complications such as this that made this production so demanding. “When I’m working on a project, I see images of what I want to achieve in my mind. I try to postpone the moment of turning them into reality for as long as possible. While they are only in my mind they are alive. They live, develop, evolve. Some people start from the products, but I only think about which products to use when I have no other choice. I know I am a good technician - but I try to delay things to the very last moment. Because I believe that by then I will have sufficient inspiration in my head to achieve something special. I was the first Belgian to light a production like this in Las Vegas. That’s quite an honour. I think it lifted me to a new level, both artistically and business-wise.
Client Wynn Las Vegas, USA Director Franco Dragone, Brussels, Belgium Lighting Design Koert Vermeulen ACT Design, Auderghem (Brussels), Belgium Video Content Designer Dirk Decloedt, Belgium Main light sources Conventional spotlights Philips HPL 750W/115V, MSR/SA 2000W, MR16 42W/12V GE1000Q PAR 64/120V Moving lights Philips CDM-SAT 150W/942, XOP 15-OF Osram HMI1200 W/S Underwater lighting Philips LUXEON LED 1and 3 White, RGB, MR 16 42W 12V GE 1000Q PAR 64/120V
Electrical Power Station, Sparanise, Italy
TOWARDS SLOW ARCHITECTURE Interview by Luigi Prestinenza Puglisi
An interview with Enrico Frigerio on the subject of light, colour and slow architecture at the Sparanise Power Station. The 70,000 square metres of the Sparanise Power Station occupy a surface area of 110,000 m2 (sic), in other words the area of twenty football fields. Yet, thanks to the design of both colour and light, this large industrial complex seems neither dull nor oppressive.
Enrico Frigerio, the architect, who in the eighties was a colleague of the architect Renzo Piano, and since 1991 has been head of the Frigerio Design Group: â€œFor the design of the power station we not only took pains with technological efficiency, but we were also particularly sensitive to the environmentalÂ context.
“The job was derived from a challenge we put to our client, EGL. At that time we were constructing an office building and we asked them: ‘Why not prove that it is also possible to produce large industrial complexes, such as a power station, with a different, more sustainable attitude?’ They liked this idea, and we were given a free hand, provided, however, that we came up with solutions which would not involve greater costs than usual; the costs for structures of this type are quite low. “Because of such cost restrictions, we decided to work with colour and light. For the industrial buildings we chose blue, the colour of the sky. We then selected three different graduations of the colour, and alternated these along the facades. The resulting rhythm makes you think of the electrical frequencies generated inside the building, with the effect that the buildings appear vibrant and light. For the office buildings on the other hand, we decided on beige, a colour which is restful and therefore suitable for the kind of activity which goes on inside”. Frigerio continued: “We avoided using flat, indistinct light; instead, we chose to emphasise the volumes of the buildings and highlight the relationships between the different chromatic graduations of the facades. Annoying reflections have been eliminated wherever possible, both on a small scale, for example along the pedestrian walkways, and on a large scale, so as to avoid visual pollution of the surrounding agricultural land. The sources of light are arranged hierarchically so that each function is given the lighting it needs in relationship to the role it plays within the general context.
“Restricting energy consumption as far as possible was a priority, but so too was the elimination during the construction process of waste which could result from careless design. For example, we divided the facade into modules which are the same as the factory measurements of the cladding panels so there was no wastage. For the lighting, we opted for Philips highperformance low-energy light sources, in other words fluorescent or metal halide lamps. We are also now using these lights in the Sambonet neighbourhood in Vercelli. “In the seventies, innovative architecture (I’m thinking of Beaubourg for example) reflected an industrial image. Today things have changed and it is industry which must imitate the solid constructions of olden days. In this modern world, where pace is ever more frenetic and alienating, buildings should represent a pleasant exception. For this reason they should be a reincarnation of what I call slow architecture. This means that, in modern buildings, the principles of good construction must be followed, the laws of ergonomics must be respected, and they must be built to last. This is why, in slow architecture, light and colour will be required to play an increasingly important role.”
Client Calenia Energia S.p.a - EGL Architect Frigerio Design Group, Genoa, Italy Light sources Philips MASTERColour TL5 and LED Luminaires Philips TBS230, TCS398 and FCW 196, Pacific TCW 216, SPK100 high-bay with protection glass, Philips Tempo 3 floodlight and TrafficVision SGS305/306
11 Enrico Cano
ROGIER VAN DER HEIDE
Architectural Lighting Designer / Director of ARUP, Amsterdam, The Netherlands Interview by Jonathan Ellis
Rogier van der Heide, head of Arup’s global lighting division and director of the company’s Amsterdam branch, thrives on collaboration. In this interview for Luminous he discusses collaboration, the complexity of lighting, and the challenges for the lighting industry.
Rogier van der Heide established his reputation as lighting designer with his own studio in Amsterdam. Later, this was merged with Arup and van der Heide was appointed head of the company’s global lighting division. “I think it safe to say that that technical expertise was one of the attractions for me to join the company several years ago. But that doesn’t mean that technique has the overhand; creativity remains at the core of our business.
I work with a team of 50 designers, and the ability to allocate creative resources to a project – to study, say, the specific requirements for lighting a reception area or a conference room – means that every project can be worked out in far greater detail than is generally the case. Of course, this is what our clients expect. We strive to work at the very highest level - our projects demonstrate this - and this is where quality is most demanded and best appreciated. “ Van der Heide believes that collaboration is the key to success. “Lighting used to be an after-thought. Architects would finalise their plans and then send them to the lighting specialists who generally would concentrate on deciding which luminaires from the catalogue should be installed. In our practice, we want to become involved in the creative process. Sometimes even before an assignment has been granted. For example, we regularly organise workshops with architects to throw around creative ideas and participate in the production of a tender. And this is what architects increasingly expect. The question is, whether you have the capabilities to collaborate and have the necessary creative vision to act as a mature partner in the process. I think it is essential that you consistently work on your vision. That you avoid the tried-and-tested, the obvious. And that you concentrate on details. “A vision, however, can never be static. We have a department here that constantly evaluates the drivers of change. Our Foresight Team looks at trends across a broad spectrum - demography, politics, environmental concerns, urbanisation – and we use this information in our lighting practice. Our vision is based on something tangible – not on instinct, but on the drivers of change. One of our projects is Dongtan, near Shanghai, the first eco-city in the world. There we are aiming to achieve a sustainable environment which is carbon neutral. The impact this has on the way we use lighting is substantial.” Van der Heide has been involved in prestigious projects throughout the world, from the Millennium Dome in London to the Olympic Stadium in Beijing. And this has convinced him that even in our global society, there are clearly differentiated lighting cultures. “Asia places an enormous emphasis on the symbolic nature of light. Much of it is decorative, and our job is to combine that with the functional. In Europe, there is a clear distinction between the northern countries and the southern. The long winters of the north has given rise to a highly functional use of light, particularly noticeable in the Scandinavian countries.
In the south, lighting has to reflect daylight, sun. In the US, the cultural difference is more in the way lighting designers work. They are sent the architectural plans, make their designs and then return them to the client. Much of this is based on a very solid technical knowledge. I think they are extremely competent in the technical aspects of lighting. “But technique also plays an important role for me. The current level of technique is certainly one of the influences on the way we think about light. Take LED. The miniaturisation that this has brought about has an enormous impact on how architects and designers think about light. We can now integrate light where previously that wouldn’t have even been room for a fitting. In some of our projects we are making use of custom-designed LED strips. I think, though, that the industry has not yet come to grips with this new technology. All too often, suppliers simply take existing fittings and fit them with LEDs. What we need is for the industry to take a detailed look at the intrinsic possibilities of LED and what you can achieve with it. They shouldn’t allow themselves to be trapped in the old fitting ideas. Work from the intrinsic properties of LED and develop things from there, rather than simply retro-fitting existing fittings. “You know, even today when we have so many new possibilities at our disposal, daylight is still the norm. The ability to modulate daylight is part of a lighting designer’s challenge. We are currently working on the lighting for Amsterdam’s Rijksmuseum. The challenge is to allow the exhibits there to be viewed in daylight, while at the same time protecting them from the negative effects of direct sunlight. This means finding the best balance between natural and artificial light. In August, for example, we use less than 1% of the available daylight for lighting the exhibits. We are also learning how light can prove beneficial in health. Imitating the natural circadian rhythms of day and night in intensive care units can result in faster recovery. These are new challenges for lighting designers. But those challenges are the things that make our profession so immensely satisfying.”
“Lighting is no longer an after-thought”
GENERALI OFFICE BUILDING, PARIS, FRANCE Generali wanted in there 1800 m office building to create a user-friendly environment while at the same time making use of the most advanced solutions available today but with an eye on operating and maintenance costs. 2
The architect Anthony Béchu was to design “an innovative window in the world of lighting”. The result: the world’s first office building lit entirely by LEDs. A comfortable working environment with all lighting concealed from view.
Throughout the office spaces the lighting is realised through 422 luminaires integrated in a false ceiling with 600 x 600 grids and recessed SpotLed 3 K2 luminaires, each with 3 Luxeon high-power LEDs, are applied in the corridors. This provides a lighting solution that complies with the current lighting norms for working places.
Client Generali Immobilier Architect Agence d'Architecture Anthony Béchu, Paris, France Interior design Anne Charlet, Volume ABC, Paris France Lighting solutions Nathalie Bozzi, Ludovic Sénéchal Parfait, Denis Carcagne, Philips France Light sources Philips LUXEON K2 LED Warm White Cree XR-E LED Warm White Luminaires Philips Customised LED Luminaires, Spot LED 3K2 and 1K2
MERCEDES BENZ SHOWROOM, UTRECHT, THE NETHERLANDS Mercedes Benz wanted to change the signage on their façade due to internal changes. When the first signage was mounted there was less vegetation. This moment created the opportunity to put the signage higher up on the façade to improve the visibility from the two motorways which are located on both sides of the building.
Client Mercedes Benz Netherlands Architect A.S. van Tilburg Capelle a/d IJssel, The Netherlands Lighting solutions Gooren Lichtreclame, Best, The Netherlands Light sources Philips Affinium LED string system blue
The light advertising company advised to use medium Power LED lines which are far more energy efficient compared to Neon.
THEATRE DE L’ODÉON, PARIS, FRANCE The Odéon is one of France’s six national theatres. Located in the 5th arrondissement, this neo-classical building was designed by Charles De Wailly and Marie-Joseph Peyre in 1779-1782.
Shazaam Consulting Marie Cerise Denisot
The aim of the project was to enhance the very high ceilings and the roses which are such a feature of the Odéon, while at the same time underlining the beautiful architecture. The solution was to use indirect lighting, hidden within ledges in the wall. In addition, a continuous beam allows the eye to capture the full splendour of the wonderful architectural achievement. While emphasis was placed on the artistic enhancement of the building, the solution also had to ensure that the lights had a long life-time with no maintenance, as they are installed in positions that are very high and not easily accessible.
Credits list: The Client Le Ministère de la Culture / Le Théâtre de l’Odeon Architect Alain-Charles Perrot, Paris, France Lighting design Phillippe Almon Concepteurs Lumière et Design, Paris , France Lighting solutions Aplilux, Ivry sur Seine, France Light sources Philips LightLines, 300/500/700, 2700K
AUCHAN, MONZA, ITALY AND AMSTERDAM, THE NETHERLANDS The aim is to create a ‘green’ areas with energy efficient luminaires and good quality of light UrbanLine luminiare, LED based system for functional lighting in pedestrian and bicycle paths. The LED’s long life cycle (50.000h) allows to save costs of maintenance for all the lifetime installation. The Pedestrian LED Luminiare combines the benefits of LED lighting (long lifetime and low energy consumption) with the need for a welcoming ambience in the urban environment that promotes social interaction and increases the feeling of safety. The light distribution on the ground is very uniform due to the highefficiency lenses.
Clients Auchan ImmobiliareEuropea Municipality of Amsterdam Architects Studio CS, Milan Italy Lighting solutions Marco Dipilato, Philips Italy H. Akkermans Senior Officer Public Lighting, Municipality of Amsterdam Philips Benelux Light sources Philips LUXEON K2 TFFC, 18W White Cree LED's Luminaires Philips UrbanLine
The picture left shows an area close to the new Auchan shopping centre in Monza. The picture on the right shows the temporary installation along the cycle path near the Stopera in Amsterdam. Both areas are meant to host many citizen in a comfortable way.
STADIUM CENTER SHOPPING MALL, VIENNA, AUSTRIA Stadion Center is a 21.000 m2 shopping mall, located just next door to the Ernst Happel football arena, which was used as one of the major arena’s during the 2008 UEFA European Football Championship. The Stadion Center was constructed in 2007. Client Stadium Centre Vienna,
The façade transforms the shape of the building during dusk and nighttime, because the shape of the Creative LED display is different from the shape of the building.
Lighting solutions Philips Lighting B.V. BU Vidiwall
The 80m width and 8m height display (640m2) contains 37.620 individually controllable full color pixels. The system is connected to a media server to play animations and can play various digital media formats.
Lighting controls sPDS-480 data power supplies VSM-PRO DVI Video system manager Grand-Ma Media server
The main objective was to create an inviting and attractive façade which at the same could be used for commercial messages like animations, advertisement, logo’s and artistic color effects.
Lighting design Make it real GmbH, Hamburg, Germany
Luminaires Philips iColour Flex SLX – custom 140mm pixel
Newbery Smith Photography
INTERNATIONAL TRAIN STATION ST. PANCRAS, LONDON, UK St Pancras International Station, Eurostar’s new home, is one of the UK’s largest enclosed spaces. The lighting solution had two objectives: internally, to link the lighting in the core operating centres, integrating the multitude of different lamps and lighting fixtures across the entire estate and, externally, to provide a street lighting solution for the surrounding areas of this redevelopment. The extremely flexible control system operates both the ticket hall and baggage area as well as the Business Premier Lounge and shopping complex offering multiple scene setting options plus more functional presence detection facilities. Outside, pedestrians and drivers enjoy a safe and welcoming white light solution, achieved by pairing the latest in lamp innovation with simple yet elegant luminaires designed to blend in with the building’s architecture.
Client Union Railways on behalf of London & Continental Railways Architect Alastair Lansley, Union Railways, London, United Kingdom Lighting design Arup (pre-tender concept) Claude Engel (concept and schematic development) Emcor Rail (scheme design and implementation) Electrical installer Spie Mathew Hall Outdoor light sources Philips CosmoPolis 60W and 140W Luminaires Urbis Estia Sill Lighting Cooper Lighting Lighting controls Philips LMM
BEIJING CAPITAL INTERNATIONAL AIRPORT, BEIJING, CHINA One of the most important construction projects for the Beijing 2008 Olympic Games, BCIA T3 started operation in March 2008. Passenger experience was the focus of the design. An important consideration for energy saving is making optimal use of daylight both in the arrival hall and other indoor public spaces. The steel framed concrete construction is curved. The roof canopy above the steel frame consists of glasses in light cyan, which can bring the daylight into the space and make it transparent during daytime.
The installation structure of lighting fixtures is pre-designed with a metal slot that perfectly matches the luminaireâ€™s dimension. The luminaire can be embedded into the concave slot. A decorative cover is used between the luminaires and conceals the cables behind.
Client Beijing Capital International Airport Company Ltd. Architect Foster and Partners London, United Kingdom (concept) BIAD, Beijing Institute of Architectural Design, Beijing, China Lighting design Speirs and Major Ass. London, United Kingdom NFA Combo, Beijing, China Light solutions David Zhu, Gao Ying, David Guan, Philips China Lighting sources Philips CDM-T / CDM-R 35 and 70W Philips MASTER TL5 14 / 28 W
LETZIGRUND STADIUM, ZURICH, SWITZERLAND One of the hosts of the Euro 2008 football championships in Austria and Switzerland was the Letzigrund stadium in Zurich. Built in 1925, the Letzigrund stadium in Zurich has always been an athletics stadium of high international standing; Euro 2008 presented the opportunity to bring it into line with today’s needs. The new stadium was built in record time especially for Euro 2008. The lighting installation has been designed to provide an average of 1,400-lux towards the cameras for the soccer field as well as for the athletics track. The ArenaVision Luiminaires are installed on 31 masts, distributed around the roof at a height of 38m above the track and field. Each mast holds seven to eight lights.
Client Letzigrund Stadium, Zurich, Switzerland Architect Bétrix & Consolascio Architekten AG, Erlenbach, Switzerland Lighting design Andre Bruhin, Regent Lighting, Basel, Switzerland Lighting solutions Philips AG Lighting Switzerland Light sources Philips MHN-SA 2000W/956 and MHNLA 2000W/956 Luminaires Philips ArenaVision MVF 403 and OptiVision MVP 507
To create the required vertical illumination on the track and on the closest side of the football pitch, the 170 Opti-Vision MVP 507 luminaires with 2kW lamps have been installed under the roof, at a height of approximately 18m.
In Europe too, parking before a show, crossing a bridge or a square, visiting a museum involves atmospheres where light culture is key. With more limited budgets, cutting-edge architecture and lighting designs have been realised in the past year at several cultural places: Zaragoza International Exhibition in Spain took place this summer and had water as its theme; a huge car park for the Zenith Europe music hall in France was opened early 2008; and the Milan Triennale Design Museum in Italy inaugurated its scenography at the end of last year.
Flashback. Did you see on television this summer how the Beijing Olympics public areas were lit? Around the "bird nest" stadium, the poles became fan-shaped trees of light, the gardens dynamic colour fields and the swimming pool cubic media façades. China wanted to impress the world and they succeeded with this event. In retrospective, these night atmospheres have created a memory of the country’s light culture.
The dossier focuses on exterior areas because this is where people are initially welcomed into cultural places. The shapes of the architecture create night perceptions which echo in the people who use them. Lighting contributes to guiding them through the symbols and creating the mood of the place. This is also true for the museum exhibition discussed in these pages. Cities today are increasingly using master lighting plans as a cultural strategy; the researcher P J Raynham explains some social aspects of urban lighting. What else? Let us all continue to focus on creating unique architecture and lighting concepts in which culture and people continue to play a key role in achieving harmony. Vincent Laganier
EXPO – ZARAGOZA 2008, SPAIN
HARMONISING EVERYTHING Interview by Maria José Monge
“The objective of the urban lighting in this space was to enhance the architecture which constitutes the exhibition”. Antón Amán talks about the challenges he faced in creating a lighting scheme for the Zaragoza international exhibition. Lighting an international exhibition can prove highly demanding. Many ideas, architects and architectures contribute towards its creation, and these can end up being combined in a manner which is artificial, disparate, and lacking in unity. In order to harmonise this architectural labyrinth, lighting experts, technicians and consultants worked with the architects to provide creative and innovative solutions. Antón Amán, an architect and director of ALS (Architectural Lighting Solutions SL) was in charge of implementing a large part of the Zaragoza Exhibition lighting projects. He believes that the key to success was in ensuring that the lighting of all the various exhibits produced a harmonious unity at night. The main objective of urban lighting in such a space is simply, Amán believes, to “highlight, emphasise and add value to the architectures which constitute this space”. The exhibition site had to accommodate a wide range of facilities. It was necessary, for example, to take into consideration pedestrian areas and areas such as squares, but without allowing disturbingly sharp distinctions between them. To ensure this, use was made of what the experts call “hybridising of types”. This means lighting involving continuity or uniformity, in which the lines of traffic movement are demarcated, and scenic lighting in which there is a strategy of patches of light in contrast with areas of shadows, in which the patches of light lead to others, cutting through the areas of shadow.
But if this is to be successfully implemented, it is vital to have a theoretical concept, and establish some common rules of the game. This involves evaluating the projects and carrying out work of harmonisation and unification, so that a single exhibition is created from the various disparate units. It is vital to respect (and highlight) the individuality of each project, while at the same time creating common spaces, connecting some buildings and spaces to each other, joining the different walkways, and, as Amán explains, “trying to ensure that it is all centralised, unified and suitably connected”. The main objective was to convey the idea of a whole. Enough light had to be used to allow visitors to move around between the different spaces; but at the same time, lighting of the paths of access and transit had to be installed in such a way that there was no excess light that would detract from the interest of the remaining sections. The aim was to “provide a sufficient level of visual comfort and emotion in order for the Exhibition as a whole to be a pleasant location at night”. LIGHT TREES AND LIGHT GUIDES
The use of elements of a naturalistic type, which are not associated with conventional public lighting elements, was one of the key aspects of the project. This was the true leitmotiv of the Exhibition, and it was put into effect subtly, so as to enrich the visual experience of the Exhibition. It was used to enhance the really important parts, in other words the buildings, the pavilions and the thematic squares, etc. Over 200 light trees produced a pleasant atmosphere around the pavilions, creating a type of wood in which real trees were interspersed with artificial light trees. The solution used to create this wood animated by light came from Philips, using Lantern luminaires with MASTERColour lamps to “construct and highlight the architectural space and make it relate to the area it serves”. Another important aspect was the installation of lines of light close to the ground. Their purpose was to act as a guide and direct people towards a particular object or place, such as the entry to and exit from the Bridge Pavilion. Amán summarised: “We followed a strategy which was based on functional lighting, designed to light the entire Exhibition from a staging point of view. There was lighting which was more ornamental to create specific spaces, and lighting to emphasise the buildings, the thematic squares, the edges of the paths, etc. The aim was to unify everything and create a staged location, in all cases respecting and making use of the lighting provided by the different pavilions”.
Client Eduardo Ruiz de Temiňo Expoagua Zaragoza 2008 Architecta Zaha Hadid and Patrik Schumacher, London United Kingdom (Bridge pavilion) Lighting design Antón Amán , ALS Lighting, Pamplona, Spain. Lighting solutions Alvarez Beltrán Proyectar, Zaragoza, Spain. Electrical installer Cymi Obras y Construcciones. Madrid, Spain. Bridge Pavilion Navarro y Orera, Calatayud Zaragoza, Spain. IPV, Lleida, Spain. EDASA, Zaragoza, Spain Public spaces. Light sources Philips MASTERColour CDM-R, CDM-TC, CDMTD and SMD LED’s Philips Master TL5 Luminaires Philips customised light trees luminaires, customised continous recessed luminaires, Pacific TCW216 Philips Decoflood 606 and Marker LED RGB Lighting controls Philips ColorChaser Touch (under the pavilion of Aragón)
27 Fernando Baena
TRIENNALE DESIGN MUSEUM, MILAN, ITALY
SPACE IN THE TEMPO OF LIGHT Interview by Luigi Prestinenza Puglisi
For Mario Nanni, the new design museum in the Milan Triennale building is “Space in the tempo of Light”. If you ask him what this means, Nanni will talk about when he was a boy, and his passion for the cinema. “In those days you were allowed in even after the show had started. The auditorium would be dense with smoke and it was difficult to see where you were. You sometimes had to wait for a few seconds for a scene with more light to appear on the screen. Every scene was different, and gave you more information about the space you were in. It was the light which marked the tempo of your presence in that space. “Italo Rota asked me to co-operate with him to develop the lighting project for the Italian Design Museum. When he explained to me that he was planning to use seven movies by seven different directors, Mario Martone, Silvio Soldini, Davide Ferrario, Antonio Capuano, Daniele Lucchetti, Pappi Corsicato and Ermano Olmi, I thought I would leave the task of lighting the works to those movies; the important purpose was to lead the visitors who become spectators in discovering the space.
29 Photography Viabizzuno
“The scientific curators of the exhibition decided to add many objects, and I realised that the light from the films alone would not be sufficient to light the objects to the museum’s requirements. So I created virtual showcases around the objects using Philips T5 lamps to illuminate their most significant details. I believe this was the first museum in the world to use so many fluorescent lamps, accompanied only by some LED spots. “By highlighting the details of the object displayed, the light enhances the creative intelligence of the designer. For example, in the lighting of ‘Nine Skirts’ by Roberto Capucci, for a 1956 evening dress, a horizontal bar accentuates the fabric of the outfit, whereas the vertical section has two light beams, one located lower down, to give the sense of height, and a much smaller one, to throw a hint of light on the bust. “We used a similar principle for lighting the Sleeping Hermaphrodite, an anonymous work. A beam of light in a profile suspended above the sculpture traces the sensual figure, and, thanks to various shades of brown gel, it does so with different graduations and intensities. “In order to exist, light needs shadow, and this is one of the eight principles which guide my work. The others are: presence of light and absence of a lighting body, light only where it is needed, light with density, light projected together with the architecture in which it is incorporated, light in movement, light as colour, and the force of light which coincides with the approach of its extinction.
“This is why I love reflected light, shadow and long slits, together with the unexpected and sometimes slightly theatrical lighting of a detail. “I also love light which establishes a rapport with things. For instance, in the cars and motorcycles display, I designed tyre tracks on the floor that change as the noise produced by the object in motion varies. In fact, light must stimulate the imagination as if it were a film. “But it is also necessary to save energy, and a good museum can be created by paying attention to sustainability and the environment. In the museum, the lights consume less than 3 kilowatt-hours thanks to the use of LEDs and fluorescent tubes. “I often ask myself where the boundary between the object and the light is. I try to answer this with my projects, but also by using the lighting units produced by Viabizzuno, the factory I founded in 1994 with my two partners Paolo Marzetti and Sebastiano Varza. A couple of these projects are actually on display in the Design Museum, the light stool and the candle which Zumthor designed for the Vals baths. It’s funny, isn’t it? Being able to light, in a museum, the lighting objects which you yourself have created.”
“I believe that Lucio Fontana is, perhaps, the artist who has inspired me most. The slashes and shadows in his canvasses convey infinite space, or, to use his words, give insight into a spatial concept. I also love Vincent van Gogh’s ‘Potato Eaters’, where the artist uses light to describe space which reflects both a state of mind and an existential condition.
Client Triennale Design Museum Architect Italo Rota, Milan, Italy (Exhibition) Lighting Design Mario Nanni, Viabizzuno, Milan, Italy Lighting solutions Philips, Italy Light sources Philips MASTER TL5, He 14-35 WW Philips LUXEON Power LED 1W Luminaires Viabizzuno 094 system, Faretti obiettivo, Kit halo, c2, m7, Trasparenze
ZÉNITH EUROPE MUSIC HALL, ECKBOLSHEIM, FRANCE
COLOURFUL AND SOFT By Isabelle Arnaud
Located in the growing exhibition area of Eckbolsheim, near Strasbourg, the Zénith Europe music hall, designed by the architects Fuksas and with a capacity of 10,000 seats, opened in January 2008.
The Urban Community of Strasbourg, the Administration of Bas-Rhin, the Alsace Region and the State all took part in the realisation of the music hall. The building is a dynamic form based on layered and rotated ellipsoidal steel rings. The translucent textile membrane covering the steel frame creates brilliant lighting effects, with the building appearing opaque in daylight, only to turn transparent and brightly illuminated at night. The surroundings, of 12,000 m², include a parking area with 3,000 spaces. Atelier du Paysage has created a friendly environment, which not only allows cars to find their way easily but also makes visitors feel comfortable and relaxed while walking to the entrance of the Zénith. GUIDED BY COLOURS
The building’s illumination, undertaken by lighting designer Yann Desforges (Pixelum), comes from the inside, while the lighting of the exterior environment was designed by Pierre Nègre (L’Atelier Lumière). “My idea, from the beginning,” explains Nègre, “was to give an impression of lightness and softness. There were several reasons for this. First of all, since Yann Desforges’s concept was to underline the spectacular structure of the building at night, I did not want to interfere with his concept by allowing intrusive light to stray onto the architecture itself; but at the same time, I could not totally ignore it either. Plus, the exterior lighting should play an important part in guiding the public towards the parking area which Atelier du Paysage has treated more as a green space, a park, than as an ordinary parking. So, the challenge of the lighting design was to maintain and enhance this.” 33
When the drivers are about to leave the highway, they immediately get the feeling that they are entering a very special place, dedicated to music and entertainment. Right along the access road, as an introduction to the coming show, coloured LEDs (RGB) columns, between 1.50 m and 3 m in height, highlight different plant elements. VISIBILITY AND SECURITY
In such a space, into which 3,000 cars and about 9,000 pedestrians are concentrated, good visibility is required as much for driving as for walking: drivers become pedestrians at one time or the other. Straight poles of 7 m, installed along the road, with arm-mounted luminaires equipped with metal halide lamps of 100 W, offer a very efficient and comfortable lighting. “I wanted to avoid ostentatious poles, especially during the day,” explains Pierre Nègre, “and my intention is to offer good visibility which is, at the same time, discrete.” For the parking spaces themselves, Pierre Nègre chose a blue light that comes from four asymmetrical projectors placed at the top of 15 m poles situated on the planted perimeter. Here again, the “invisibility” of the poles allows the lighting to softly envelop the whole area and, by contrast, makes the pedestrian alleys shine brightly without using high power lamps. To complete the lighting design of the parking space, projectors create rectangular bars of light, attracting spectators towards pedestrian spaces. AROUND THE ZÉNITH: AN INTRODUCTION TO THE SHOW
Echoing the lines of the architecture, high poles seem to bend as if welcoming the spectators. Projectors equipped with gobos send large floods of light down to the square floor where people wait for the doors to open, creating for them an imaginary scene as they waiting. For Pierre Nègre, it was a real challenge: “Our idea was to create the desired ambiance and at the same time to obtain the required luminance levels for this space without impairing the concept of the façade”. And at the end of the concert, people are not surprised by night: the enchantment goes on for a while and as they exchange impressions, they can walk safely to their cars, the magic still being conjured up by the lighting. Different animations are possible by just changing the various gobos or the focus of the projectors. To enhance this powerful effect, Pierre Nègre conceived luminous bars emitted by projectors fixed on bent poles of decreasing heights. As the day declines, these long luminous beams seem to emerge from the building itself. When coming to the Zénith, the spectator sees his own shadow projected in front of him and when leaving, he is bathed in bright light, like an actor at the end of the show chreder.
Pierre Pichon Client Communauté Urbaine de Strasbourg Architect Massimiliano Fuksas, Roma, Italy Landscape architect Emmanuel Moro, Atelier du Paysage, Illzach, France Public places lighting design Pierre Nègre, L’Atelier Lumière, Lyon, France Building lighting consultant Yann Desforges, Pixelum, Le Chesnay, France Lighting solutions Bertrand Reecht, Philips France Electrical installer Spie, Citeos, Sogeca Light sources Philips CDM-SA/T 150W /942, CDM-T 35 and 70W /830, CDO-TT 100W /828, MSD 575W, BLV HIT 400W Blue Luminaires Philips Proflood CDM-T SA 150W with gobos and shutters. Schréder Puntilla CDM-T 35 and 70W. Sill 456 HIT 400W Blue. Martin architectural Exterior 600 DMX Lighting controls Martin
URBAN LIGHTING – A SOCIOLOGICAL VIEW Following article is based on a publication by P. J. Raynham entitled “Public Lighting in Cities”. The author is affiliated to the Bartlett School of Graduate Studies at University College London.
Urban lighting is a complex issue. It requires balancing Human factors, City image and Performance. HUMAN FACTORS
Any street lighting must meet the needs of the people who are going to use the area being lit. In urban areas it is normal to provide lighting for pedestrians. The requirements may be broken down into the following headings: • Safe movement • Visual orientation • Visual comfort • Facial recognition • A general feeling of safety There is a certain amount of interaction between these factors and in general a lighting system designed to meet one of these needs may well go some way to meeting all of them. It is also important to note the difference in nature of these various needs, without safe movement and visual orientation it would be impossible for someone to walk along a road, however, without a general feeling of safety someone might chose not to walk along a road. CITY IMAGE
The complex network of buildings, roads and open spaces that make up a modern city creates a highly complex structure, thus at night it is essential that a city
is appropriately lit. The lighting of the city should not only aid orientation it should be stimulating and provide a general feeling of well being and safety. Amenity is all about increasing the attractiveness of a city and thus increasing the comfort of people out and about within it. Research has shown that people prefer schemes that have a good general uniform illuminance coupled with visual accents provided by highlighting certain features within the environment, such as trees, statues, shrubs, seating, entrances, etc. In planning, urban lighting should identify the different zones of a city and how people interact with these elements. It is therefore important to identify these areas within the urban fabric and address the issue of lighting accordingly. These areas could also be broken down into their level of use, main function and level of importance. Aesthetics is the branch of philosophy dealing with notions such as beauty, ugliness and the sublime. Our subjective appraisal of the city at night is directly linked to the aesthetic quality of the lighting installation. A city lighting strategy should enhance key features of the city by night. Often central to the city lighting plan is a river running through the city. These vistas usually dominate the night time image and create iconic views
ofÂ cities. Lighting plays a critical role in establishing this night time iconography. PERFORMANCE
When installing lighting there are always a number of issues to consider relating to the impacts of the lighting system. Street lighting is a significant user of energy, for example in the UK, street lighting accounts for about 1% of all non-domestic electricity use. Maintenance is important to ensure that a lighting system performs at its best. Light pollution is being recognised as a problem by many urban councils and in some countries it is a criminal offence for artificial light emitted from premises so as to be prejudicial to health or a nuisance. And finally the costs of road accidents during the hours of darkness can be considerably reduced by effective road lighting.
presence of good public lighting makes people happier to walk or use public transport at night, and so the lighting can reduce the amount of car use. Maintenance of any lighting scheme is also important, not only because poorly maintained lighting does not deliver as much light but also because badly maintained lighting sends a signal that an area is not considered important and can be left to become run down. And finally, it has been shown that good lighting significantly reduces the night-time accident rate. The cost saving involved easily pays for theÂ lighting.
Good public lighting can transform cities at night. It can provide a sense of amenity and with careful planning boost the aesthetic qualities of a city and permit the icons of the city landscape to stand out by night as well as the day. Good well-planned lighting can make a city more legible and thus make it easier for people to use it after dark. In general people are more fearful at night than they are by day; good lighting tends to minimise the difference between day and night. Although lighting is a major consumer of energy, it can be argued that the
Location Expo Zaragoza 2008
OLED Q&A Philips Research
Since 1991 Philips is researching OLEDs as part of the development of OLED display screens and adding lighting applications since 2004. Philips is the project leader of “OLED100”, an international EU-sponsored project started 1 September 2008 to accelerate the development of organic light-emitting diode (OLED) technologies in Europe as a successor of the earlier “OLLA” project. But what is OLED and what can you do with it? O.L.E.D
Organic Light Emitting Diodes. This is essentially a light emitting diode (LED) made of organic material. The light-emitting layers within an OLED consist of organic semiconductor materials. Materials are mainly composed from Carbon and Hydrogen and they are called organic since all life forms are built on that basis. HOW DO OLEDS WORK?
OLED lighting works by passing electricity through one or more incredibly thin organic semiconductive layers. These layers are sandwiched between two electrodes – one of which is metal, the other a transparent layer of indium tin oxide. The whole “sandwich” is attached to a sheet of glass or other transparent material, known as a “substrate”. When a current is applied, the film emits light. Different materials in the film emit differentcolored light. HOW CAN YOU USE THEM?
The evenly distributed light output of OLEDs, their unusual appearance and the fact that they emit little heat make them easy to integrate into other structures. As a result, we can expect to see OLED devices being used in many different contexts – both personal and commercial.
Since OLED light is not yet powerful enough to provide full illumination, it will initially be used for decorative purposes. However, the range of applications will expand dramatically as the technology evolves. The size of OLED panels is set to grow: current prototypes are 5cm x 5cm up to 15cm x 15cm, but already panels of 60cm x 60cm are envisioned. Philips has also developed plain white and “warm white” panels, while “color-variable” OLEDs, capable of producing light of almost any color – including mimicking daylight and traditional lighting – are likely to appear over the next 3 to 5 years. WINDOWS AS LIGHTS
Scientists at Philips Research are currently progressing towards the development of transparent OLEDs. This means OLED panels could function as ordinary windows during the day and then morph into panels of light after dark, either by imitating natural light or by emitting attractive interior lighting. During the day, people would be able to create their own private area by turning transparent glass walls, windows or doors into walls of light whenever they liked. Transparent OLED panels are expected to emerge onto the market within the next 3 to 5 years. MAKING LIGHT FLEXIBLE
Today's OLEDs are mounted on glass. In principle, any transparent substrate would do, but so far only glass has been able to protect organic films sufficiently from the effects of moisture and air. However, scientists at Philips Research are looking for ways to make plastic substrates that will provide the same degree of protection. This will open the way for flexible and moldable OLED lighting panels.
WANT TO SEE MORE... www.lumiblade.com
HUMAN CENTRIC LIGHTING Hospitals are not particularly renowned for attention to lighting. The main consideration often seems to be to provide an overall blanket industrial lighting to promote visibility, but little else. Philips Lighting, in close cooperation with Philips Healthcare, has been studying this topic, and has recently installed a special showroom to provide hospital authorities with a demonstration of ways of making hospital lighting more user friendly and beneficial to patient, visitors and staff.
Waiting areas in a hospital have to meet a variety of conditions. In an emergency department, for example, or an outpatient clinic, patients may be anxious or in pain, so the use of soft, comforting lighting can have a soothing effect. Philips has specially created a concept for flexible lighting, AmbiScene with waiting – room infotainment for just such purposes. Thanks to its simple control system, the AmbiScene lighting concept can create an efficient, but static, general lighting. But it can also create lighting schemes in blue or green and a third preset automatically changes colour at regular intervals. Research has shown that AmbiScene, in combination with carefully planned furnishings and an eye for detail (a large bowl of apples, for example, is both attractive and inviting) can help reduce patient stress. In addition, it can prepare visitors – who are often anxious when visiting somebody in hospital – by helping them feel comfortable and at ease before the visits starts.
Patient rooms can also benefit from a similar approach. People staying there have been removed from their home environment and feel both alienated and stressed. By providing comforting lighting – which patients can control to suit their needs or mood – patient anxiety can be reduced. And because there is flexibility, the staff can go about their work unhindered. Incidentally, creating a comforting ambiance also helps to put visitors at ease, and allows visits to take place in a far more intimate and less intimidating atmosphere. To illustrate the possibilities of new lighting techniques in hospitals, Philips has opened a special demonstration room, which shows all these various possibilities. If you wish to visit the Customer Visit Centre please contact your local Philips office.
Project Demonstrator of waiting area and patient room applications Location Customer Visit Centre, Philips Healthcare, Best, The Netherlands Lighting solutions Sjef Cornelissen, Philips Lighting Interior Design Gielissen. Interiors & Exhibitions and Mansveld. Expo techniek B.V. The Netherlands Light sources Philips Master TL5 Optiview, Master TL5 ActiViva, LED modules Luminaires Philips iColor Cove MX powercore, Wallmarker LED, Careglow, Grazer LED, SpotLED, SmartForm, Latina. Lighting controls Philips Multidim Touch, Colorchaser touch. Bed-head units Philips Mediva and Madeira Other CareServant, Infotainment
FLEXIBLE LIGHTING By Ulrika Vis van Heemst, Chia-Chun Liu
In today’s competitive retail world, any advantage a shop can bring to attracting customers and creating the sort of shopping environment they require is welcome. The AmbiScene Lighting concept can provide exactly that. AmbiScene is a flexible lighting concept which puts complete control of the shopping environment at the finger-tips of the retailer. It allows the retailer to adjust the lighting in any conceivable way, addressing different shopper motivations, highlighting brand identity, product presentations and retail promotions. Lighting designers can apply AmbiScene in shops in a variety of ways: in the shop window, to create ‘stopping power’; on the wall opposite the entrance (to attract customers into the shop); in promotional areas (to enhance sales); to highlight architectural features (adding interest); and in changing rooms or relaxation areas within a shop (for example, a coffee corner) to tempt customers to spend more time in the shop. By using a carefully controlled combination of coloured lighting, moving lights and lighting that changes either slowly or intermittently, customer interest can be sparked thus increasing in-store traffic. The lighting solutions used for AmbiScene can be divided into five basic lighting areas: continuous lines, which can not only provide a changing help improve the customer’s orientation in the shop, decorative elements (highlighting a special feature or promotional item), flexible cove lighting, which help attract the customer to the products and thus help generate more sales, flexible wall lighting, to add interest to the interior and spark the curiosity of the customer, and translucent walls, again helping to create an environment that meets the changing demands shoppers make on their shopping environment. Many of the solutions involve the use of state-of-the-art LED lighting. Thanks to the size of the current generation of LED luminaires, the fixtures can be recessed, integrated into architectural elements or surface mounted. They can thus provide lighting which draws attention to the objects and spaces being lit, rather than to the fittings themselves. AmbiScene is proving highly effective in retail outlets, but it is also being used in other sectors. Elsewhere in this edition of Luminous you can read about its application in the world of healthcare.
Could be used for store orientations and to highlight store architecture. The customised recessed frame can be easily mounted in plaster ceilings and suspended ceiling systems.
< 700mm 5.1m
2.6m 2.6m 2.6m
FLEXIBLE COVE LIGHTING
Could be used for store orientations and to highlight store architecture. The best effect is obtained with a white wall or white ceiling plane and the interior of the ‘cove-box’ must be painted white.
Front view 1.174m
FLEXIBLE WALL ILLUMINATION
Could be used for a dynamic shop window, room dividers or for the wall behind the cash register or the changing rooms. The best effect is obtained with a white wall with a matt surface. And a surface with texture improves this effect even further.
Could be used for a dynamic shop window, for the wall behind cash register or the wall opposite the entrance. In the installation the minimum distance between the light source and the translucent wall is 0.1m. The interior of the box must be painted black and to create a blur effect a sandblast foil can be added. Each node is controllable, creating a video effect.
READY STEADY LIGHT By Mike Simpson
The Society of Light and Lighting (SLL) held its annual Ready Steady Light competition in March this year; the 19 entries were a record for the event. Each team was allocated a site in the grounds of Rose Bruford College, London and provided with a random selection of equipment donated for the event by the many sponsors. The challenge was to interpret their site using nothing but light and they had just 3 hours to produce a lighting masterpiece! Three awards were on offer: the Technical Merit prize, which concentrates on the implementation of the installation, energy use and control of light pollution, the Artistic Impression prize, which judges the imagination and artistic quality of the lighting concepts, and finally a Peer Award, judged by the teams themselves. Awarding the Technical Merit prize to The Cabin, an installation by the iGuzzini Team, SLL President, John Ownsworth commended the entry ‘for its elegant nightscape, excellent control of light spillage and the great textural appearance of the subject.’ The Artistic Impression award was won for The Old Stables, produced by the Rose Bruford College team. Kevin Theobald of the PLDA commented: ‘Year on year the imagination of the teams and the quality of the projects continue to improve.’ Finally, the teams voted the Speirs and Major team winners of the Peer Prize. Mike Simpson, Technical and Design Director of Philips Lighting, was also amazed at the creativity shown. ‘One of the comments we heard was how important shadow is in creating the lighting effects. The event certainly challenges the teams’ creativity!’
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BOOKS Architectural Lighting Design Author: Gary Steffy Publisher: Wiley (United States), July 2008 ISBN-13: 978-0470112496 368 pages, 220 black-and-white and colour photographs, hardcover Language: English www.wiley.com This third edition boasts more than one-quarter new material, including new discussions about sustainability, lighting details, and the assessment of manufacturers’ product data. This is an holistic guide to transforming space with light. La luz en el teatro, Manual de iluminación Author: Eli Sirlin Publisher: Instituto Nacional del Teatro, Colección Pedagogía Teatral (Argentina), July 2005 ISBN-13: 987-9433-33-5 362 pages, black-and-white and colour photographs, softcover Language: Spanish www.inteatro.gov.ar Accompany it with the good luminance practice this manual appears in first instance to be quite technical. Eli Sirlin unfolds in this manual all her lighting designer knowledge in a educational way. What is the light? Jean Nouvel by Jean Nouvel, Complete Works 1970-2008 Author: Philip Jodidio Publisher: Taschen, October 2008 ISBN-13: 978-3-8365-0935-0 898 pages, Hardcover, 2 Vol. Language: English, French, German www.taschen.com Jean Nouvel’s work in two volumes with the most complete overview to date of his career, including works in progress, such as the new Louvre in Abu Dhabi, the Philharmonie de Paris, and the extension of the MoMA in New York.
Studio Olafur Eliasson, An Encyclopaedia Author: Philip Ursprung Publisher: Taschen, Mul edition (Germany), April 2008 ISBN-13: 978-3822844267 500 pages, colour illustrations, Hardcover Language: German, French, English www.taschen.com The key concepts behind the Eliasson’s works are presented alphabetically, and unfold in the course of short conversations with the artist. The majority of thoughtprovoking installations, photographs, sculptures, and architectural projects to date is included, with additional material focusing on the research processes at his Studio. The Light of Tokyo Authors: Jean-Michel Bert Publisher: Assouline (United States), November 2008 ISBN-13: 978-2759403066 132 pages, 70 duotone photographs – hardcover/jacket Language: English www.assouline.com Following two magnificent volumes on Paris and New York, this stunning collection is a tribute to the grandeur of urban architecture - the blend of the modern and the traditional - at the peak of daybreak. The evocation is romantic, ethereal and empty of any trace of human movement.
WHERE TO GO
till 4 January 2009
Exhibition Lori Hersberger Phantom Studies www.mac-lyon.com Musée d’Art Contemporain, Lyon, France
26 - 31 January 2009
PLDA Workshop Snow and Ice www.pld-a.org Notodden, Norway
till 1 February 2009
Exhibition Berlin im licht www.stadtmuseum.de Märkisches Museum, Berlin, Germany
4 - 5 February 2009
IALD Congress Enlighten Europe 2009 www.iald.org ARC Show, Earls Court Two, London, UK
12 - 13 February 2009
OTTI Congress Licht + Architektur Tageslicht, Kunstlicht, Energie www.otti.de Bad Staffelstein, Germany
till 1 March 2009
Exhibition George Nelson (1908 - 1986) Architect, writer designer and teacher. Vitra Design Museum www.design-museum.de Weil am Rhein, Germany
till 30 March 2009
Exhibition Ateliers Jean Prouvé www.moma.org Museum of Modern Art, New York, United States
18 - 23 April 2009
Exhibition Euroluce www.cosmit.it Milan, Italy
23 - 25 April 2009
CIE congress LUX Pacifica 2009 Light without borders! www.cie.co.at Khabarovsk, Russia
act-design.com dragone.be frigeriodesign.it
anthonybechu.com aplilux.fr freimuller-soellinger.at stadioncenter.at
expozaragoza2008.es alslighting.com zaha-hadid.com nietosobejano.com bartenbach.com viabizzuno.it
crengle.com bcia.com.cn/ betrix-consolascio.ch lichtreclame.nl triennale.it michelledeluzi.com marionanni.it fuksas.it atelier-du-paysage.fr pixelum.fr
archi-europe.com iald.org pld-a.org uia-architectes.org
A10, The Netherlands www.a10.eu Architecture+Design, India http://www.mediatransasiaindia.com/ad_literature.htm Lighting & Design, South Africa www.crown.co.za/lightingindesign.htm
Copyright © 2008 Koninklijke Philips Electronics B.V. All rights reserved. Reproduction in whole or in part is prohibited without the prior written consent of the copyright owner. The information presented in this document does not form part of any quotation or contract, is believed to be accurate and reliable and may be changed without notice . No liability will be accepted by the publisher for any consequences of its use. Publication thereof does not convey nor imply any license under patent - or other industrial or intellectual property rights.
SPRING OF LIGHT Setting the heart of the task in an environment that is both abstract and human, i.e. arising around architecture, projects become independent and may be considered prior to the existence of a specific place, programme or client. In this way, the presence of equality and difference turns into an area of reflection that floods the task, taking on a specific form only through, or rather thanks to, the borderline conditions that finally appear. Natural sources which give physical appearance. We first notice not only the shape of the object but also the light and the movement. These factors must certainly represent the shape of sustainability. Luis Mansilla, Emilio Tuňón, Mansilla + Tuňón Arquiectos, Spain
Transitions, June 2008, Old Truman Brewery, London, United Kingdom
Published on Dec 1, 2010
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