Luminous 20 - Surfaces of light

International Lighting Magazine 2017/20 Autumn Issue

Surfaces of light

Interior lighting designs

ABP Architectes, Kossmann.dejong and Magic Monkey

Lighting designers’ interviews

Víctor Palacio, Rafael Leão, Fernando Piedrabuena and Paulina Villalobos

EDITORIAL When we think of lighting as a functional tool to enable us to see, too often we concentrate on the task. Which is ensuring visibility. But light can also convey a whole series of emotions by changing and enhancing the spaces in which we work and live.

This is the theme of this edition of Luminous. As designers we know the power of lighting the surfaces in a space, to make it feel expansive or cozy. In the Schiphol Lounge we see how the treatment of surfaces is an integral element when creating different “atmospheres” for people passing through. Lighting plays vital part in the brightness and appearance of surfaces. We see in the Galeries Royales in Brussels just how powerful lighting can be in revealing the space, first by highlighting the wonderful 18th century facades in a natural setting, and then by playing with intensity and colour to create imaginative scenarios in a way the original creators could never have imagined. We see the importance of illuminated surfaces in The Renato Poblete River Park where light patterns support the architec’s intent to rejuvenate the banks of the River Mapocho.

The images show what an evocative space the lighting designers created by working closely with the landscape architects. The ultimate in immersive experience is the CGR cinema where light plays a key role in bringing the action into the auditorium.

We continue our series of discussions between leading lighting practitioners, this time with a focus on Central and South America. Despite being in the same geographical region, it is interesting to hear about the different influences on designers in Mexico, Argentina and Brazil. Lighting design is alive and well in the region and you would not be reading this unless you have more than a passing interest. But how do we engage the next generation of lighting designers? With the support of the Royal Institution in London (where Michael Faraday first discovered how to generate electricity) a group of school children were taken through a masterclass in lighting with plenty of hands on activity thanks to Pavlina Akritas from Arup. Initiatives like this are only scratching the surface but we owe it to the profession to inspire the lighting designers of tomorrow.

Pierre-Yves Panis Head of Design, Philips Lighting contact us for your projects Architects, interior architects, landscape architects, lighting designers, consulting engineers… please contact: Africa mohamed.khamies@philips.com Australia vessi.ivanova@philips.com Benelux nico.karres@philips.com emile.van.dijk@philips.com Canada neil.whiteford@philips.com Central and Eastern Europe boris.zupancic@philips.com China, Azerbaijan mengming.yao@philips.com France patrick.biessy@philips.com nathalie.bozzi@philips.com

Germany, Austria and Switzerland rene.siemer@philips.com Italy alessandro.conforti@philips.com India saumen.bhaumik@philips.com ashish.bahal@philips.com Indonesia vikas.rana@philips.com Japan pon.kumaresh@philips.com Korea y.h.bae@philips.com Latin America gladys.gatti@philips.com Malaysia arsalan.ahmed@philips.com Middle East anissa.abbou@philips.com sanam.siddique@philips.com

New Zealand chris.morris@philips.com Philippines michael.margallo@philips.com Saudi Arabia mohammed.yousef@philips.com Singapore, Brunei, Myanmar vijay.v@philips.com Thailand weeraphon.aotharnsakun@philips.com Turkey, Turkmenistan engin.cebeci@philips.com United Kingdom nigel.chadwick@philips.com United States mark.d.turner@philips.com nick.bleeker@philips.com sridhar.n@philips.com Vietnam nguyen.nhat.quang@philips.com

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 | Nigel Chadwick, Matthew Cobham, Nico Karres, Lawrence Solaiman editing | Ruth Slavid graphic design concept | one/one Amsterdam printing | APS Group B.V. ISSN nr | 1876-2972 12 NC 3222 635 71094 cover | Light Sculpture at Philips Lighting headquarters, HTC48, High Tech Campus, Eindhoven, The Netherlands - Architect: LAVA - Lighting designer: Beersnielsen photo | © Jonathan Andrew Photography more info | luminous@philips.com

2 EDITORIAL

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38

46

SURFACES OF LIGHT FEEDBACK

DIALOGUE WORLDS OF EXPERIENCE

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FURNISHING SOLUTIONS

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LATIN AMERICA LUMINOUS TRIANGLE

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Lounge 2, Schiphol Airport, Amsterdam, The Netherlands

How Are You, Basten Leijh Exhibition, Milan Furniture Fair, Italy

Victor Palacio, Fernando Piedrabuena, Rafael Leão discussion, US

INSPIRING THE NEXT GENERATION

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ILLUMINATION IN HARMONY

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Royal Institution Lighting Masterclass for Children, London, UK

Premium white

PROJECTS LIGHTING A RIVER PARK

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SHOPPING IN SPLENDOUR

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A NEW EXPERIENCE IN CINEMA

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Renato Poblete River Park, Quinta Normal, Chile

Galeries Royales Saint-Hubert, Brussels, Belgium

CGR Immersive Cinema Experience ICE for Valerian, France

CONTENTS 3

LOUNGE 2, SCHIPHOL AIRPORT, AMSTERDAM, THE NETHERLANDS

Worlds

of experience

By Isabelle Arnaud

© Thijs Wolzak

Lounge 2 at Schiphol Airport in Amsterdam is the first large project using the new business model of Philips Circular lighting. Kossmann.dejong has designed the completely new interior, creating different worlds while at the same time ensuring that it is a unified space. In the ceiling, the architects combined the disparate elements with the most sustainable available approach to lighting.

Š Kossmann.dejong

Lounge 2 floor map, 1st floor

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© Kossmann.dejong

Lounge 2 floor map, 2nd floor

“The storytelling elements provoke a lasting experience and make Lounge 2 part of the travel adventure.”

André van den Berg

Schiphol Airport wanted to be the most sustainable airport in Europe and also compete with airports in Paris or London in terms of quality and originality. Many passengers pass through Lounge 2 “that’s the reason why we wanted the space to be more human and more social than ordinary lounges travelers are used to”, explains Robert van der Linde, senior designer, Kossmann.dejong.

The design is fully interwoven with the architecture. Here people can relax, meet each other and enjoy themselves while waiting.

Herman Kossmann, creative director of Kossmann.dejong, said: “We’ve tried to take the interior design of Lounge 2 to the next level through the integral design of interior and architecture together with Benthem Crouwel NACO”, the supervision architects of Schiphol.

A social lounge Each year, nearly 15 million people visit Departure Lounge 2.

More than half (61%) are transfer passengers; the rest start their journey at Schiphol. The renovation adds some 20% more space for retail and catering outlets, bringing the total floor area of the first and second levels of Departure Lounge 2 to around 16,000 square meters. Immediately on entering the lounge via the new entrance on the second floor, visitors have a phenomenal view of aircraft with taxiing, taking off and landing which also helps them orientate themselves within the space.

The design of the lounge comprises seven different thematic worlds surrounding a central square. The themes include Luxury, Family, Travel & Culture, Modern Dutch, See Buy Fly, Fashion & Lifestyle and Care & Wellness. Each world has its own distinctive façades, custommade furniture, details and its shops, restaurants, amenities and seating areas. “These are organized in such a way that people can talk to each other and feel comfortable”, says Robert van der Linde.

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© Sarah Dona

The central plaza has a large ‘living’ clock designed by the renowned young Dutch artist Maarten Baas, which has the figure of a man in workers’ clothes pushing the clock hands. “The Real Time Schiphol Clock is basically a big box hanging from the ceiling in Lounge 2,’ said Baas. “For this work, I decided on the most archetypical form of a clock, but it has a ladder going up to it and a little door that you wouldn’t even notice at first glance.” The ladder and door enable this imaginary man in his blue overalls to enter the clock. “He has a red bucket and a yellow cleaning cloth and he is cleaning up after the hands of time, after which he creates a new minute, every time.” The red, yellow and blue are Baas’ homage to two of the most definable Dutch artists of the previous century, painter Piet Mondriaan and architect/designer Gerrit Rietveld.

Living trees, rooted in the lounge’s floor, give it the feel of an outdoor courtyard. The Family World is home to a large, colorful toy aircraft, where children can imagine themselves as actual pilots.

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“These storytelling elements provoke a lasting experience and make Lounge 2 part of the travel adventure”, says André Van den Berg, Executive Vice-president & Chief commercial officer, Schiphol Group. “Working with our partners, we have been able to create a unique experience in a limited space. This departure lounge truly puts the passenger center stage. It’s a place to start or continue your journey with a smile on your face, and I’m very proud of it.”

Travelers are automatically attracted to different worlds and intuitively find their way without specific signage. The floor of large concrete tiles and the black-slatted ceiling are combined with sustainable LED strips, holding all the different elements together.

“When we decided to remodel Lounge 2, we saw a huge opportunity for making further progress in this direction”, says André van den Berg. “The Philips Circular lighting service was the best option.

There is no initial investment, we just pay a monthly service fee which also includes the energy and maintenance costs”.

Thomas Rau, CEO Founder of Turntoo, a visionary and consultant on the circular economy collaborated with Philips to develop this innovative business service model. It’s a completely new approach to lighting where ownership is replaced by “pay as you go”. Instead of buying a luminaire, you buy light. Philips Lighting manufactures high-quality, sustainable lighting systems, which are modular

in design and fully repairable. When the contract period has expired, the customer can choose to extend the contract by upgrading the existing lighting or can opt for new lighting. Luminaires can be returned to Philips Lighting for reuse or recycling.

Engie is responsible for providing the technical services for the building and power generation systems at the airport. “We installed the luminaires and signed a five-year contract with Schiphol Airport and Philips Lighting, with an option for another five-year period”, says Glenn Ronings, Business Unit Director, Schiphol, Engie.

“Because each luminaire is connected to a control system, any failures that occur are picked up immediately and we can make repairs at any time of the day”.

© Thijs Wolzak

Circular lighting, an economic sustainability choice The airport has made it a top priority to reduce energy consumption and continuously looks for ways to build sustainably.

© Thijs Wolzak

Pleasant environment The specially developed sustainable Philips luminaires which hang in an attractive random pattern in the transfer hall above passenger’ heads to enhance flow and comply with the stringent requirements of the Circular lighting concept. These luminaires have been specifically designed to allow fast and easy repair or replacement.

However, they also meet Schiphol’s demanding requirements in terms of aesthetics.

The design of the transfer hall is based on three basic principles: mold the experiences of the different worlds into a single entity, create a restful environment for the passengers and produce as sustainable a design as possible. “We worked closely with the architect to adapt Modular luminaires specifically to the interior design, offering linear fixtures in different lengths,” explains Wibeke Vandevelde-Pollé MA, Lighting Application Specialist, Philips Lighting. “We have positioned these luminaires in the direction of the windows to encourage passengers to look towards the aircraft;

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in other words, their next destination. We chose a warm color temperature, 3,000 K, to match the wooden panels and the warm human atmosphere. The client can choose two different light settings according to the light level they want.”

Additional accent lightings have also been placed in small areas such as the trees and the luxury zone.

The general lighting consumes 50% less power than the previous lighting sources. In addition, the new luminaires have a 75% longer lifespan compared to the luminaires that they replaced.

Client Schiphol Airport Architect masterplanning and engineering Benthem Crouwel NACO Interior architect Kossmann.dejong Lighting design Rogier van der Heiden together with Kossmann.dejong and Philips Lighting Lighting application specialist Wibeke Vandevelde-Pollé, Philips Netherlands

© Thijs Wolzak

Animation Douwe Dijkstra Clock Maarten Baas Realisation interior Kloosterboer Decor, Gielissen, Roels Spaces, Gispen, ISSOS, Hekker Interieurbouw Main contractor engineering works Heijmans Service operator Schiphol ENGIE

© Kossmann.dejong

Luminaires Random LED lines, LED Spots on track, LED integrated interior lighting, Special LED shapes, LED Cove lighting and recessed LED spots from Philips Lighting and Modular.

Lighting controls ENGIE Wayfinding Mijksenaar Advisor construction Royal Haskoning DHV Advisor installations Deerns Advisor acoustics Deerns Websites www.schiphol.nl www.kossmanndejong.nl www.engie-ep.com www.philips.com/circularlighting

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12 ONDERWERP

© Modular Lighting Instruments

Medard Hue, Basten Leijh Design

HOW ARE YOU, BASTEN LEIJH EXHIBITION, MILAN FURNITURE FAIR, ITALY

Furnishing

solutions

By Ruth Slavid

Product designer Basten Leijh is working in a close collaboration with Modular lighting instruments on new innovations in light sources.

Now he has also worked with Modular on the design of a light source with Hue technology inside and used it in his solo exhibition held in Milan during the Salone del Mobile last April.

Basten Leijh is an exciting product designer who has been based in Amsterdam, the Netherlands for the past 12 years. He has a reputation for looking at everyday objects in an unfamiliar way, and also for integrating technology in his products. At this year’s Milan Furniture Fair, he designed and presented an exhibition, called ‘How are You’, showing ten of his latest innovative products, including his Médard connected light, his Ahrend Recharge pouffe, his Ahrend How are You connected chair and his Cartrash car waste bin. He worked with Philips’ Hue lighting on the concept and the design of the exhibition. The Luminous team caught up with him there.

Tell us about the Médard that you designed for Modular?

Basten Leijh: Médard is a light source that I created because I wanted to design something that included candle light and a spotlight in one source. In 2010, it was quite difficult to achieve that. The Hue technology that was introduced inside the light source is not only dimmable but makes the warmth of the light source changeable. Hue technology comes with an app on your device that allows you to change the mood from spotlight to candlelight in a second. With this new technology everything is solved, and creativity starts when you open the app on your phone.

LIGHT SOURCE 13

Š Modular Lighting Instruments

Right Page: Architectenbureau De Feyter, Wijnegem, Belgium Modular Medard Hue on track, Basten Leijh Design

Basten Leijh

How did you find out about Philips Hue and how it can help you?

I was of course very honored by the fact that Hue was integrated into my little MĂŠdard. This was of course quite an achievement for the engineers of Modular because the light source is quite small and I was really surprised that it could work. They worked really closely with the Philips Hue design team to get the best result.

And finally we achieved the idea of giving the two effects in the same source. Now we have a tremendous amount of possibilities, so I am really pleased.

What are the benefits that it provides?

Everything is possible now. You can place the spots in the space and then you can start changing the light, to give more warmth and more mood to the objects that you want to light.

14 LIGHT SOURCE

Modular Medard Hue ceiling recessed, Basten Leijh Design

How does the connected light help you in your design?

One of my designs, called the Ahrend Recharge, is a pouffe where you can recharge yourself after a long walk but also you can recharge your phone wirelessly. So the new technology of Senz wireless charging, which is on the top side of this pouffe, has a communication device, little light circles where you can place your phone, but the same light source is also giving you a mood underneath the pouffe to provide atmosphere, with warm light or even with colour.

Why are you so passionate about working with connect light?

What does it do for you?

Especially when I designed this exhibition, I needed a technology to not only give more mood and atmosphere to this space, because I am of course a product designer; I also wanted to light these objects very well; whereas in the past the lighting design started when you were actually designing, now the design and the creativity starts when you have built it already, because then you can adjust a lot of things in the space.

ONDERWERP 15

© Modular Lighting Instruments

© Basten Leijh Design

© Basten Leijh Design

Howareyou chair, Basten Leijh Design

Does it also help the design be more timeless?

Yes, when you design a space or the product itself it can be timeless because the technology is driven by an app or something and you can adjust it every time and over time, so then it will be more attractive to use it for longer.

So it will change the rules of design over time?

Sometimes I use light for functionality but sometimes you need the same light as a mood factor inside offices or spaces, and I think that when you look at that, you are more free to have those designs, the design boundaries are more right because even later in the design phase you can still adjust things.

16 LIGHT SOURCE

Recharged table, Basten Leijh Design

And also you used light in your exhibition here.

How did you use it?

I have several objects such as mobility things, furniture and also light sources, and I thought it was really nice to give an atmosphere with light, with the Médards, to show what they are, and giving this piece the right atmosphere. I created this exhibition ‘How are You’ with an loT [Internet of Things] integrated, light and other technology, inside soft seating but also integrated in new light sources.

So the ten concepts should be lit differently. And it was really difficult because I wanted to do this from the same source but use it so that you can see that this object is really good with warm red, or even bright light, and the other one is more dimmable. So you can really adjust and give feeling to every object.

How did you find it working with Philips Hue? Was it easy or difficult in terms of technology?

First of all I see myself not only as a designer but also as a consumer and I don’t want to see or feel technology, so I think that when I create these pieces it is quite easy to use and easy to adjust everything. It is easy particularly in the limited time of this exhibition and all the power you need to get this done in Milan, it was a really nice way of working that even now you can still adjust things to improve things, and that was really helpful.

© Basten Leijh Design

© Basten Leijh Design

8 Frames,

by New Duivendrecht, Basten Leijh Design

Howareyou exhibition, Milan during the Solone del Mobile, Basten Leijh Design

Modular Connected brochure http://bit.ly/2tTPCwI Websites www.bleijh.com www.supermodular.com www.meethue.com

How did you use Philips Hue in this exhibition ‘How are You’?

It was really easy because you can have six spots on the ceiling and then you adjust the right light for every object. Every time you enter this room you can see what is to be changed and you can play with it throughout the fair and it is really cool.

Will you be playing with it or will the visitors be playing with it?

That would be cool but for now I am playing with it and the music is playing with it because I am using this Hue disco app and it reacts to the music.

LIGHT SOURCE 17

Latin America

Luminous triangle

By Chus RodrĂ­guez

Š Alejandro Wirth

“In Mexico, young architects give more and more importance to lighting.”

Víctor Palacio

Luminous enjoyed a productive conversation with three well-known lighting designers on how to deal with the disparity of lighting projects in Mexico, Argentina and Brazil with their different approaches to culture and light. The meeting took place in Philadelphia, thanks to the Lighting University and the President of the IES Mexico section, Antonio Garza, who acted as moderator.

Víctor Palacio has lived his entire life in a neighborhood of Mexico City.

His company, Ideas in Light, specializes in architectural lighting. Up to now, it has worked with museums and historical monuments, but has now also developed projects for corporate buildings and shopping malls. He is the current president of ILD, the International Association of Lighting Designers.

Fernando Piedrabuena is Argentinian.

He began his connection with lighting design through working on scenery for concerts. During the 1990s he moved into lighting design for architecture.

He is the founder of the firm Piedra I+D.

20 PLATFORM

Rafael Leão works in Sao Paulo, Brazil.

He graduated in architecture in 1998, specializing in lighting design. His company was founded in 2002 and has recently opened an office in New York to serve American customers. He works mainly in the business, office and residential sectors.

All three are great exponents of lighting design whose talent shines in Latin America.

They explain in detail the main differences of approach in their home countries.

What role does lighting have in Latin America?

Rafael Leão: It’s growing a lot. In Brazil, we try to keep up with the United States and Europe on these issues, but it is growing fast. In the past 10 years, interest has increased and contractors and engineers collaborating with a lighting designer have seen energy and money savings.

Fernando Piedrabuena: We are at our best moment now in Latin America.

The creativity of designers, nowadays is very important to promote culture, and to help society to enjoy lighting.

“In Brazil, designers have a great influence on manufacturers, as we have neither representatives nor distributors here.”

Rafael Leão

“In Argentina we are learning from the rest of the world, but there is growth happening.”

Fernando Piedrabuena Antonio Garza

Víctor Palacio: Latin America is a huge market with many different situations, but there is a good standard level. I remember a few years ago we talked about convincing customers that they needed a lighting designer and instead we are now talking about how to improve our services, how to do better and how to grow the market.

The interest is there and contractors, promoters and owners are more interested in lighting design and the value it brings to their projects.

What importance do lighting projects have in each of your countries?

Víctor Palacio: We must be aware that lighting design anywhere in the world plays a very small part in the construction

industry. In Mexico there are young architects who give a lot of importance to lighting.

Nevertheless, if you ask an architect to appoint you, he’ll think twice about it. They will say that the owner has no budget for it.

But now young people know they’ll need a lighting designer on their team.

Fernando Piedrabuena: Argentina is different. Mexico and Brazil are the pioneers and we are the beginners. We are learning from the rest of the world, but we can see growth happening.

Rafael Leão: In Brazil we have one of the oldest associations in Latin America, but we are still behind many countries. I agree with Víctor, we are in the hands of the young. With them you can work as a team

and each one contributes to improving the final result.

How does the approach of architectural icons like Oscar Niemeyer or Luis Barragán influence lighting design?

Rafael Leão: Contemporary architects have gravitated to a specific style: Aaclean and very elegant type of lighting.

Víctor Palacio: Barragán is a master of color and light. His architecture is emotional, inspirational and mystical. He developed a concept taken from the small towns of the West Coast and, in one way or another, everything in Mexico is influenced

by Luís Barragán. But there are architects who want to get away from that stereotype.

PLATFORM 21

Does Latin America have an influence on the lighting of any other countries and what is exported to the rest of the world?

Rafael Leão: It is a difficult question, even within Brazil. Brazil is very large and it all depends on the geography of the area.

Sometimes you will have a mountain in the middle of the city, other times a completely flat area; in some cases it may be a dry space, in others an area with many trees.

It’s geographically very different to the United States, where everything seems to be too bright. We are closer in some aspects to Europe, with a very clean and uniform style of lighting. Brazil is evolving... but it will take a while.

Víctor Palacio: The process is similar to the rest of the world, but it is true that there are certain cultural backgrounds to take into account. The fact that in some countries the same languages are spoken can have an influence. In Spanish light refers to something feminine, like the moon.

A common factor in Latin America is love, emotions and sensuality...

What is the effect of energy, sustainability and regulations? Do they undermine the creative process?

Rafael Leão: In Brazil we have certain codes of practicebut we have to adapt to low budgets, limited technology and peculiar construction techniques. This results

in influences on the design. You must adapt to the architecture. But all this forces you to find a unique solution. We have been copying the European style for a long time, with glass facades. But we started to encounter certain problems. With the long hours of sunshine, the buildings get very hot, creating an increase in internal temperature, and therefore a lot of energy is consumed through air conditioning systems. We also have particular techniques that allow us to create personalized finishes.

Fernando Piedrabuena: In Argentina everything related to electricity is very cheap.

This is very different from the rest of Latin America. In this case we think about designs that can solve problems.

Top Centro Universidad de Diseño, Mexico City, Mexico Lighting design Ideas en luz, Victor Pallacio Bottom Bellas Artes, Mexico City, Mexico

© Maira Acayaba / Caio A. Falcão

© Victor Pallacio

Lighting design Ideas en luz, Victor Pallacio

Left Cetelem Bank, Sao Paulo, Brazil Architect Arealis Brasil

© Victor Pallacio

Lighting design Rafael Leão Right Cha Cha Delicatessen, Sao Paulo, Brazil Architect AR Arquitetos Lighting design Rafael Leão

Víctor Palacio: The important thing is to communicate to the customer your vision of the project. If you succeed in that, everything will be easier. We try to isolate and eliminate those limitations. We focus on the design as if the conditions were ideal and then try to adjust it to reality.

How is the business market in Latin America? To what extent do manufacturers influence designers or vice versa?

the United States, so we have many American manufacturers with offices in Mexico. In Chile, interestingly, there are no local manufacturers and the industry has stronger relationships with European companies than with American ones, Spanish, Italian, German and Belgian companies all have Chilean distributors.

Rafael Leão: In Brazil, designers have a great influence on manufacturers. But it’s because we don’t have representatives or distributors here. And it’s easier to work directly with the factory. The person who picks up the phone is usually one of the founders of the company. You know who he is and who you’re talking to, so sharing the design process is very close and

Víctor Palacio: There are differences between Latin American countries. Brazil, for example, is a very close personal market. It has developed its own industry with its own manufacturers. Mexico is near

personal. On the downside, however, the technology in Brazil is very limited.

What are the main trends in lighting design?

Víctor Palacio: Technology is influencing us a lot. Every device is different now.

Everything is becoming more technical and more specialized. This creates more business possibilities for lighting designers because the customer is aware that he needs a specialist.

Learn more Watch the complete recording of the interview on Philips Lighting University channel: philips.to/2qDkelx

© Demian Golovaty

Websites www.ideasenluz.com.mx www.piedrailuminacion.com www.rafaelleao.com www.philips.com/lightinguniversity

Page 18-19 La Colina, Catalinas Y Recoleta Mall, Caba, Argentina Architect BMA Architectos & associados Lighting design Piedra I+D, Fernando Piedrabuena Below Torre BBVA, Buenos Aires, Argentina

Lighting design Piedra I+D, Fernando Piedrabuena

© Alejandro Wirth

© Alejandro Wirth

Architect Arquitectonica, BMA Architectos & associados

RENATO POBLETE RIVER PARK, QUINTA NORMAL, CHILE

Lighting a river park

By Chus Rodríguez

Š Maria Cirano

Š Cristian Boza Wilson

The Renato Poblete River Park has been designed with the aim of rejuvenating the banks of the River Mapocho and restoring an industrial area from the riverbed itself to the surface. The challenge for the lighting design was to create a new and safe experience for the 75,000 inhabitants in the surrounding neighborhoods of Santiago.

26 URBAN PARK

Paulina Villalobos

© Maria Cirano

There is no light to the sky.

The low budget luminaries are part of the anti-vandalic furniture.

Paulina Villalobos’ role in the Renato Poblete Park project has been instrumental. She and her colleagues Claudia Oñate and Cristian Boza discuss the details of a project that includes the largest urban man-made lagoon in Chile for public use, and the first fluvial park in Santiago.

Where is the park?

Paulina Villalobos: The Fluvial Park Padre Renato Poblete, popularly known as the “Mapocho navigable”, is the only fluvial urban park in Chile and is in the district of Quinta Normal, bordering the banks of the river Mapocho, which crosses the city of Santiago.

What was there before and what kind of functionality did it have?

Paulina Villalobos: It was a forgotten area of the city, in a mixed industrial and residential sector. The edge of the river had become a dumping ground for rubbish; there were open areas that were used as football fields and, in some areas, homeless people had set up small shanties.

Claudia, what concept and idea did you have for the park?

Claudia Oñate: The park is part of a network of parks that have been built during various eras along the south bank of the River Mapocho, which is the main river that crosses the most dense urban areas of the capital. The park contributes to a very important environmental green corridor in the capital. It is, therefore, necessary to have landscaping elements that those in existing parks, such as the avenues of Platanus orientalis (oriental plane), characteristics of these parks, which generate a pleasant flow of communication and continuity in the routes.

Even though the layouts and designs of the parks are very different, as they belong to different periods and have styles appropriate to the time of their creation, there is a deliberate continuity. To give identity to the various routes and to facilitate their identification, combined textures and colors were put in place that produce chromatic planes which, during spring and summer, contrast with the gray landscape of Santiago. In addition, there are ecological considerations which mean that the proposed plant species should be appropriate to the climate and have relatively low water consumption. Finally, the planting needs to evoke the cultural history of Chile and its islands.

URBAN PARK 27

How was the lighting integrated into the park?

Paulina Villalobos: The main task was to respect the landscape, illuminating only the routes and areas frequented by people, leaving the vegetation to follow the pattern of natural light. The routes and walkways provide viewpoints to the new geography that is built to accommodate the new architecture, so the light is planned to project only where it is needed.

Š Maria Cirano

Footbridge from the land to the artificial island for bikers and people to enjoy the one kilometer length of the lagoon.

28 PROJECT 1

Š Paulina Villalobos

Cristian, what was your role in the park?

Cristian Boza: I was put in charge of taking the idea of a navigable river and turning it into a river park. I recognised the need to create a team of architects to design and develop the project.

When the luminaires were originally specified for the project, they were the most efficient on the market at the time, (80-90 Lm/W).

Today, after two years, we find that the exterior energy efficiency is surprisingly even higher. In short, we address energy efficiency in a comprehensive manner, through both the installed power and the management of consumption through control systems.

Into how many areas is the park divided, and what is the design concept for each of them?

Paulina Villalobos: The main areas are the following: • Main pedestrian routes and walkways, linear lighting under the railings.

• Secondary pedestrian routes, lighting through urban furniture.

• Marathon route, traditional lighting with lamp posts.

• Access to the esplanade and the end of the lagoon, lighting through floodlights.

• Amphitheatre, an inclined plane with concrete blocks projecting its own light.

• Water games area, lighting under the shower areas.

• The surrounding border areas, with perimeter bollards and lighting under the docking area.

© Paulina Villalobos

How have you managed to respect the need for energy efficiency and what priority has been given to it?

Paulina Villalobos: Energy efficiency will always be a positive consequence of a well-designed lighting project. The way to approach and obtain this efficiency is to go back to the beginning of the design. First, the option to give most of the routes flush lighting finishes, lower the luminous flux by up to 100 times relative to overhead lighting. That’s one of the main efficiency savings.

In addition, the luminaires are installed for the large areas, which use gobos to project an effect on the surface of the water, and work from dusk until the park closes, they are only activated when they are needed.

PROJECT 1 29

How has the water/river influenced the project?

Paulina Villalobos: The project is based on the idea of enlightenment. The Mapocho River was the origin of the city of Santiago. Its riverbanks, – before the arrival of the Spaniards – were used for the cultivation of native food species. In colonial times, it provided the sustenance of the city. History has seen the transformation of the river banks into urban parks or priority areas for urban development as the capital has grown. Renato Poblete Park takes into account the value of the surrounding areas, recovering the riverside for a large scale urban park that is strategically located. The water regains its historic role and is part of the concept that defines the lighting criteria for this new park for Santiago.

© Maria Cirano

What is the function of the image projections (gobo) in the area?

Paulina Villalobos: There are two large esplanades at each end of the lagoon, and the idea was to generate on these large arid surfaces a feeling of being in a fluvial park, and the sense of walking on the surface of water.

30 ONDERWERP

How did the users of the park react to this new concept?

Paulina Villalobos: In a very playful way. Children can swim and play’ both light and shadow play an important role in this case, as the children can see the light projected on themselves and in turn the reflected shadows.

What technology is used for the lighting?

Paulina Villalobos: Everything uses LED lighting with a color temperature of 3,000 K, except in the marathon route where the lamps are at 4,000 K. What products or systems did Philips install?

Paulina Villalobos: The use of gobo projectors and traditional luminaires, in this case, there is no control system because, when the park closes, the whole lighting system shuts down.

How were the footbridges illuminated?

Paulina Villalobos: The illumination for the footbridges is under the balustrades, illuminating the route with a flush finish.

© Maria Cirano

“The water regains its initial historic role and is part of the concept that defines the lighting criteria for this new park in Santiago.”

Paulina Villalobos

Client Property of the Government of Chile – MOP Ministry of Public Works Execution Builder: Brotec Engineering: CICSA Consult Architect Boza Arquitectos: Cristián Boza Díaz Cristian Boza Wilson Michel Carles Landscape architects Claudia Oñate Pilar Lozano Cecilia Vergara Lighting designer DIAV lighting Paulina Villalobos Pamela Padruno

Top: The night life of the neighbors in the industrial city area has improved

Luminaires Philips Lighting UrbanScene Gobo projectors

Left: Payground at the end of the Renato Poblete River Park

Websites www.diav.cl

URBAN PARK 31

© Philips Lighting

GALERIES ROYALES SAINT-HUBERT, BRUSSELS, BELGIUM

Shopping in

splendour

By Ruth Slavid

© Philips Lighting

© Philips Lighting

New lighting for the Galeries Royales in Brussels emulates the warm glow of the original gas light while also allowing the creation of dramatic colour changing effects on special occasions.

It is an exemplary example of the use of current lighting technology to enhance a historic structure.

34 SHOPPING GALLERY

Go to the Galeries Royales in Brussels at the right time and you should be impressed by a light show that runs in time with a first-class recording of Liszt’s 2nd Hungarian Rhapsody, composed in 1847, the year that the gallery was opened. In this way the gallery celebrates its history and heritage, while using the most modern and discreet technology in order to do so.

The Galeries Royales form one of the wonders of the Belgian capital and, indeed, play an important role in the history of shopping.

Designed by architect Jean-Pierre Cluysenaer, the arcaded galleries, of which the two main sections are each more than 100 m long, opened in 1847. One could see the elegant Brussels galleries, designed to provide a safe, controlled and sheltered space that appeals to the bourgeoisie as the precursors to today’s giant shopping malls – or one may on the other hand prefer not to.

© Magic Monkey

© Philips Lighting

We wished to recreate the warm glow of gaslight

This is a magnificent space and one of the historic treasures of Brussels. So when lighting design company Magic Monkey won a competition, run by the Galeries’ owner to re-light the space it had, said managing director Marc Largent, ‘to be very conscious of the Commissions of Monuments and Sites [Belgium’s authority for protecting its heritage]’.

‘It must have been beautiful,’ he said, ‘lit by gas flames in light spheres that are still there today. We wanted to recreate that kind of warm glow while at the same time having the tool to change and control it, to create something exciting and dynamic, and to create all kinds of scenarios.’

Magic Monkey worked with Philips’ IntelliHue LED lighting systems because this offers both colours and a range of white hues. ‘it could do a very finely tuned white,’ Largent said. ‘This was essential because the façade has a special plinth that has to be lit.

It is a beige-pink flushed colour and we wanted to create the warm glow of a gas flame. At the same time, IntelliHue gave us very precise control over colours. In addition, the lights are very compact and can be integrated into the cornice of the buiding.’

The usual daily lighting is with this warm white glow, but once a week there is a special light show with optical effects and dramatic colour-changing, along with music.

Over time, these shows will change, with special ones for specific occasions or times of year. At present, the show is recreating the opening event on 27 April this year, when the American pianist Daniel Blumenthal, played Liszt’s Second Hungarian Rhapsody.

Largent described the coordination of the lighting with the performance as ‘a little dance. We were following him and he was following us.’ Now, of course, there is greater certainty since the lighting accompanies a recording of that performance.

SHOPPING GALLERY 35

234 pxi

18 pxi

Rue des Bouchers

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Rue de l'Ecuyer

© Magic Monkey

18 pxi 234 pxi

The lighting control system is a Pharos LPC X (Lighting Playback Controller X) which offers an extreme level of power and integration, suiting it to landmark lighting installations that have significant channel counts, as is the case at the Galeries.

‘What we like,’ said Largent, is the possibility of having variablility of control and colour in the same fittings. We can control what happens every 30 cm, so for lighting designers creating shows that allows us to create crazy optical effects.’ Because of the flexiblility in the effects that the lighting can produce, this is a scheme that should not become outdated - the hardware and the controls will remain the same, with almost infinite variety in the effects that can be produced.

In terms of maintenance, there is the advantage of the long life of all LED fittings. In addition, says Dimitri Zeler, project manager for Philips, ‘Installation and cabling of these luminaires is very easy.

36 SHOPPING GALLERY

So in the case of a defective luminaire, it simply has to be replaced by new one with the right DMX address, and this addressing can be done in advance by Philips.

There is a ten-year maintenance contract for the project.

Philips and the installer Collignon are organized in a manner that will allow them to maintain it in the most efficient way.’

The project is also fulfilling its commercial aim of revitalizing the Galeries. ‘The shop owners and restaurant owners say that it has increased the number of visitors,’ Largent said. Indeed he can see only one disadvantage to the project. There was a long gestation period while the proposals were discussed, and then frequent site visits. And during all this time the Galeries’ excellent chocolate shops remained open. These posed a threat, said Largent, to his waistline. But if that is the only negative outcome it is one, undoubtedly, that he can learn to live with.

© Mathieu Golinvaux

© Magic Monkey

© Magic Monkey

© Magic Monkey

Coordination of the lighting with the music was like a little dance

Client Galeries Royales Saint-Hubert Architect Jean-Pierre Cluysenaer Lighting designer Magic Monkey Installer Collignon Luminaires Philips Lighting IntelliHue LED lighting systems

© Philips Lighting

Lighting controls Pharos LPC X Websites www.magicmonkey.net

SHOPPING GALLERY 37

CGR IMMERSIVE CINEMA EXPERIENCE ICE FOR VALERIAN, FRANCE

A new experience in cinema

By Isabelle Arnaud

© CGR Cinémas

© CGR Cinémas

© CGR Cinémas

CGR Cinémas and Philips Lighting are offering a unique experience of immersive cinema through connected lighting, synchronized with movies and other on-screen content. This completely new experience brings back the theatrical and architectural magic of the cinema auditorium.

40 ICE BY CGR

As part of its partnership with Philips Lighting, the CGR Cinemas Group has now used this technology in nearly 20 ICE auditoria in 2017 and the number is still increasing.

the experience of watching a movie.

LightVibes offers new content opportunities to film makers and studios, new excitement to moviegoers and additional revenue to cinemas. The dynamic lighting and video settings of LightVibes empower exhibitors to recreate the conditions of immersive narration, intensifying the experience of watching a movie with dynamic ambient lighting in the auditorium, using Philips LED Luminous textile panels, PAR spots and moving lights.

LightVibes was designed to help transform the cinema experience by bringing new excitement and impact to feature films and event cinema, to advertising and other on-screen content. This revolutionary innovation delivers compelling, subtle ambient video and lighting effects to every viewer’s peripheral field of vision, intensifying

A new ambience It all started with a story that could have made a great movie script... In 2014, Sébatien Bruel, chief technical officer of CGR Cinemas, met Niels Van Duinen, Venture Manager LightVibes at Philips Lighting Innovation, at a trade show in Las Vegas, and he presented LightVibes.

“We were looking for innovations to introduce in CGR’s new premium auditorium and I found the luminous effect stunning,” he said. “When Jocelyn Bouyssy, Chief Executive Officer of Groupe CGR saw the demo, he was very enthusiastic and decided to integrate LightVibes in the group’s new ICE concept.” LightVibes complements the on-screen content with engaging color, light, and motion that are in the audience’s peripheral field of vision. The lighting effects are subtler and less distracting than those formed by projecting images on the side walls.

They are ‘soft-resolution’, ambient, and non-distracting. The approach respects the initial intention of content creators, while keeping the audience’s focus on the main screen.

© CGR Cinémas

LightVibes ‘Surround Cinema Lighting’ was inaugurated on December 14, 2016, as part of the ICE (Immersive Cinema Experience) premium Large Format auditorium created

by CGR Cinémas, the third-largest cinema group in France.

© CGR Cinémas

“We conceived and introduced a complete new lighting design approach,” explains Niels Van Duinen. “When we created LightVibes, we really wanted to add architectural and visual quality and value to movie theaters. Remember, in the early days of cinema, people came to see a ‘moving picture’ in traditional theaters that were full of decorative architectural features and ambient lighting. It was a much more interesting environment than the black box we know today. Little by little, most features have disappeared and the once-exciting movie theater became a boring place to be. With LightVibes we wanted to offer a different environment to viewers as well as a unique story-telling experience”.

42 ICE BY CGR

And that’s exactly what Josselyn Bouyssy was looking for… With dynamic efficiency and a lot of energy, he decided to introduce ICE-by-CGR, using LightVibes ‘surround lighting’.

Stimulating the emotions LightVibes transforms the cinema experience by bringing architectural features to the auditorium and new excitement to on-screen content with compelling, synchronized surround video and lighting effects to every viewer’s peripheral field of vision. It enables a truly immersive movie experience, plus architectural and ambience lighting that enhances the visual qualities of the auditorium, setting dynamic lighting scenes for ‘walk-in’ and ‘walk-out’.

© Valerian by Luc Besson, Photo: Domitille Girard

Valerian and the City of a Thousand Planets, 2017 Director: Luc Besson Actor: Dane DeHaan

Architect Bertrand Pourrier has been working with Josselyn Bouyssy for years and he knows how to deal with CGR challenges. “The ICE concept is not only about sound quality and screening technology, it is also about comfort and how viewers can get a unique experience from watching a movie,” he says. ”We understood immediately the contribution that luminous effects could make. Of course, apart from the Luminous Textile panels deployed on the sides of the rooms, we had to figure out how the general lighting should be installed.

We worked together with both the Philips Lighting teams and CGR technicians to develop a new design.”

The solution adds subtle lighting effects – primarily via Luminous Textile panels along the side walls of the theater – that augment the content being projected on the screen.

“Activating an audience’s peripheral vision has a major impact on its emotions – expanding and deepening the experience,” says Nathalie Bozzi, Lighting Application Specialist, Philips Lighting France. ”For CGR, we chose to install six Luminous Textile panels on each side of the theatre with very soft lighting and colors; back lights, moving head projectors and spots integrated into the ceiling complete the lighting”.

“When the first moviegoers came out of the new ICE auditorium, they asked us for more, and wanted LightVibes to work with every movie!”, explains Jocelyn Bouyssy.

“The most important thing for us was that more film directors and a post-production would join us in this exciting adventure”.

An “Avant-première” in France Jocelyn Bouyssy and his team moved forward with belief, courage and persistence.

They showed a selection of demonstration material in Blagnac in December 2016, and from then, everything moved fast.

“Once we had Luc Besson choosing LightVibes for his upcoming release Valerian and The City of a Thousand Planets”, explains Sébastien Bruel, “we had to train Digital Factory, the post-production

ICE BY CGR 43

Š Valerian by Luc Besson, Photo: Domitille Girard

Š Valerian by Luc Besson

Valerian and the City of a Thousand Planets, 2017 Director: Luc Besson Actors: Cara Delevingne and Dane DeHaan

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Client CGR group Architects ABP Architectes Bertrand Pourrier Lighting Application Specialist Nathalie Bozzi Philips Lighting France

© Valerian by Luc Besson, Eric Gandois

Lighting controls Philips ventures Lighting LightVibes manager and licence

house for Valerian, to add LightVibes to the movie. They had to ‘write’ the lighting scripts controlling all the luminaires in relation to each part of the story”.

In only four months, a total of 20 ICE auditoriums were created across France, ready for Luc Besson’s release of Valerian on 26 July.

“We were extremely pleased to continue our exploration of immersive cinema with CGR Cinémas, and to demonstrate the impact of lighting as a cinematographic tool,” says Niels Van Duinen. “Many innovations in the world of cinema so far centered around sound and projection technology.

Luminaires Philips Luminous Textile panels Showline moving head projectors Showline LED PAR lights Philips Color Kinetics LED back lights Websites www.cgrcinemas.fr www.abp-architectes.com www.icinematechnologies.com www.digitalfactory.fr www.valerianmovie.com

For Jocelyn Bouyssy, “the partnership with Philips Lighting is a new step in the cinematic experience offered to our customers. The LightVibes format gives people a sense of absolute immersion and emotion unequalled so far. It is a real technological revolution, offering viewers a total connection with the essential element of the cinema: the film. The first reactions from people who saw Valerian in our ICE auditoriums were extremely positive.”

As Luc Besson put it “Cinema is magic.

Cinema owners do their best with these innovative technologies to attract people and offer them another experience in watching a film!”.

With Philips’ LightVibes, light now offers unmatched immersive experience to moviegoers and new creative opportunities to filmmakers”,

ICE BY CGR 45

© Arup

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ROYAL INSTITUTION LIGHTING MASTERCLASS FOR CHILDREN’S, LONDON, UK

Inspiring

the next generation

By Ruth Slavid

A series of masterclasses in London aimed to inspire young people to study science and technology by showing them how exciting engineering can be as a profession. One of the classes focused on lighting and we examined what they were taught and the discoveries they made through practical experience.

A group of 13-14 year olds in London recently enjoyed a hands-on masterclass in lighting, thanks to an initiative by engineering practice Arup with scientific education charity the Royal Institution.

to get them involved in the theory in a practical way, to how it is put into practice and get them excited about that kind of engineering.’

It was the Royal Institution that approached Arup to see if it was interested in running a series of masterclasses on engineering in order to encourage more school children to specialise in STEM (science, technology, engineering and mathematics) subjects.

Lighting engineer Pavlina Akritas led the lighting masterclass.

She explained, ‘I gave them about 15 minutes’ worth of theory.

I started with electric lighting and then moved on to daylight.

We discussed different light sources and luminaires, controls, colour changing and dynamic lighting. I demonstrated the different components and how they are used. To keep it fun and interactive, I showed them the difference between high and low colour rendering using big colourful balloons.’

Arup’s technology group rose to the challenge, and provided six sessions for a cohort of 30 children, mainly drawn from schools close to Arup’s office in central London. In addition to lighting, the classes covered structural engineering, the circular economy, microclimates, fire and virtual visualisation.

All took place in Arup’s offices over a two-and-a-half-hour period, running to a similar format. Adrian Keag, who is head of Human Resources for the Technology Group, commented, ‘the aim was

She talked about the use of lenses, reflectors and louvres interspersed with demonstrations. She then provided the students with typical luminaire specification sheets and asked them to identify the lumen package, beam angle, type of control, colour temperature and colour rendering of the luminaires.

WORKSHOP 47

© Arup © Arup

They set up a ‘shop’ and gave the participants a budget formed of Monopoly money

From there she moved on to daylight. ‘I used parallels,’ she explained. ‘The window is a luminaire; the light source is the sun or the sky. The accessories are things like louvres and blinds.’

There was a certain amount of ‘show and tell’ within the exposition, but essentially this was a relatively formal teaching experience.

Then the students moved on to practical applications, facilitated by a group of Arup employees: Justin Boyd, Anna Forrester, Melissa Mak, Nicola Rigoni, Konstantinos Charalampidis and Pavlina Akritas.

Anna Forrester, a product design student who was doing a year out at Arup, facilitated Pavlina with the set-up.

She explained, ‘We took our inspiration from the Society of Light and Lighting’s ‘Ready Steady Light’ event, where participants are given selected equipment and asked to design an installation.’

In this case the students were divided into six groups of five, given a theme such as shadow or contrast and told to light a space.

48 WORKSHOP

Forrester rang round a number of manufacturers and asked them for luminaire samples, such as linear fittings, spot lights and colour changing lights in different shapes and colour temperatures.

All the items had to undergo a PAT (portable appliance testing) inspection before use.

In addition, the Arup team provided a number of accessories, including coloured plastic wallets, coloured cups, straws, paper and cardboard. These were set up in a ‘shop’, with participants given a budget of Monopoly money (scissors and sellotape were free).

‘It gave them an idea of having a budget,’ Akritas said. About twenty minutes into the one and a half hours that the teams were given, the teams were told that Brexit (the UK’s vote to leave the EU) had happened with each team losing part of their budget.

This meant that the teams had to readjust their design concept to meet the reduced allowance.

To comply with Health and Safety, the activity took place in Arup’s conference rooms, and every group had to have a ‘minder’ who switched plugs on and off for them.

For the future, Akritas said, ‘There is definitely a desire to do another. We are continuing to work with the Royal Institution and we want to work with schools again.’

After the final presentation, the parents were also invited in, and there was a presentation about the apprenticeships that Arup can offer. The older brother of one of the students has already asked to do work experience at the practice.

© Arup

© Arup

Forrester found it a fascinating experience. ‘I learnt how to manage children,’ she said. Akritas found that, ‘students‘. They were surprised by what you had to look out for – the light quality, the type of dimming, the controls.‘

Lighting, like many of the other aspects of engineering that formed the subject of presentations, is not taught in schools in the UK. School students make decisions before the age of 16 about whether or not to pursue STEM subjects, determining their options for the future.

The cohort taught in this initiative was small but, since it was drawn from different schools, may influence a large number of peers.

And with Arup keen to participate again in the future, and learn how to make the sessions even better, we can be hopeful that the influence will spread further, with more young people empowered to follow the exciting profession of lighting design.

Websites www.rigb.org www.arup.com

WORKSHOP 49

PREMIUM WHITE

Illumination in harmony

By Gary McNulty

A creative vision should be seen in its best light Until now, the creative and commercial agendas of light sources pulled in different directions. But successful collaboration is now possible for lighting projects.

Discover the possibilities of an innovative and flexible lighting system, the Premium white from Philips Lighting.

Ideas are precious. From the original flash of inspiration, to the final execution, it can be a labour of love. Seeing the final result of this passion and dedication should be a proud, sometimes careerdefining moment, but often it can lead to disappointment when the chosen method of illumination falls short of your creative ambition.

Think about your display, and the quality of the materials, colours and textures that you carefully considered and painstakingly prescribed. It was all for a good reason; to put your product or design centre stage. To stop people. To hold their attention.

To spark that impulse to purchase.

But when the specified lighting is vague, misdirected and inconsistent, even the best ideas can go unnoticed. At times like these you need a very intelligent spotlight.

52 TECHNOLOGY

Top: Standard LED technology, 3,000 K, CRI 90 Bottom: Premium white, 3,000 K, CRI 90

Aligned creative ambitions and commercial targets Just as architects and interior designers set themselves creative targets, so lighting designers and electrical engineers set themselves quality-of-light and economic targets. Budgets and deadlines need to be met, and so they default to what they know works, which often results in lighting that’s functional, rather than lighting with flair.

The problem with most conventional lighting systems is their inconsistency and lack of flexibility. It’s impossible for them to complement today’s sophisticated commercial installations and retail displays, which are increasingly being designed to carry particular branding themes or narratives.

When it comes to lighting a garment, for example, patterns and material textures need to be considered, complemented, and celebrated with a dedicated light installation. Yet, whilst we want our products and displays to be noticed, the commercial limitations faced by lighting specifiers shouldn’t be ignored.

The brightest isn’t always the best It’s instinctive to apply the strongest, brightest light to the focal point of a display, but this can overpower and ‘bleach out’ the natural colour of a product. Every cove, shelf, colour and texture should be lit harmoniously throughout an installation in order to be seen in precisely the way that it was originally conceived.

To achieve this level of control and consistency requires a new level of flexibility, which is precisely what you get with the Philips Premium white portfolio.

TECHNOLOGY 53

Read more about Premium white portfolio philips.to/2xRLWik

This is a major advance in display lighting in terms of choice, control, accuracy and energy efficiency. You get precise, consistent light where it’s needed, and colours in the way that they should be.

And, for the first time, shelf lighting with integrated Premium white can produce pure, brilliant whites.

It’s truly illuminating perfect white light Unparalleled experience and unrivalled innovation in lighting technology have enabled Philips Lighting to create the unique Premium white portfolio. For you that means unlimited flexibility and endless possibilities.

Also, because our LEDs have an exceptionally long lifespan of 50,000 hours, superior light quality can be achieved without compromising energy efficiency or total cost of ownership.

With a tailored lighting solution, your clothing can now have maximum appeal, fresh food becomes irresistible with tasteful illumination, and that coveted item of jewellery is unquestionably deserving of its price tag. Without doubt, the right light, vibrant colours and enhanced white really do make the right impression.

You may be surprised to learn that all of this can be achieved with fewer components, not more. The versatile Premium white portfolio has unique LED engines in a wide range of sizes, plus modules that work horizontally or vertically, even where space is limited.

So now your lighting can work around your design, not vice versa.

54 TECHNOLOGY

Of course, creativity never stands still. Ideas flourish and adapt as collections and themes change with the seasons. With the versatility of Premium white, change can coexist with consistency.

And, crucially, creatives and technicians can collaborate in intelligently illuminated harmony.

Architect: WOODS BAGOT Google, customer experience center, Singapore

Luminous flooring www.luminous-flooring.com Architect: GAJ ARCHITECTEN KNVB, head office, Utrecht, The Netherlands

Architect: DU RIVAU ET ASSOCIES Le Village by CrĂŠdit Agricole, center for innovative and start-ups, Paris, France

Luminous flooring