Luminous 21 - Embedded light in architecture

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International Lighting Magazine 2018/21 Spring Issue

Pioneers of Light

Jonathan Groswasser, architect Paul Gunawan, lighting designer

Lighting design and architecture

Car showroom, staircases and media faรงade

Embedded Light in Architecture

EDITORIAL One of the fascinating things about light is the way its use is reinvented through the generations. Just when we think there is nothing new, something innovative comes along to re-stimulate us. Ten years after the LED became our mainstream light source, we now see designers taking a new look at the way they apply it. Embedded light has been an idea for several years but is now becoming a reality. Light isn’t merely applied to surfaces but becomes part of them. Our discussion with three architects reveals how they are exploring these new possibilities for creating spaces with embedded light. To glimpse the future, we can look at the imaginations of the entrants to the Clue competition. The 4th competition has reached a global scale with entries from 56 different countries. Whether the ideas are realised is immaterial; it is the sense of exploration that is exciting. Maybe we will see some of these ideas realised in the future. After all, if we look at our last City People Light blue-sky project in 2005 it is surprising how many of the ideas not only proved possible but were actually realised. The workplace is once again the subject of our contributors. Yet again we recognise the importance of light in creating well-balanced office spaces that are continually moving away from the traditions of the past to become places where people can work efficiently and creatively. The WELL standard has put a new focus on workers’ health and wellbeing and on those often-missed paragraphs in our lighting guides about visual comfort. All this points to the need to have lighting professionals as part of the team. Exciting outdoor lighting is once again featured, showing just how far your imagination can take you. There is something about seeing light at night in our public spaces that is evocative, transforming them and adding a new layer of excitement. If you haven’t yet seen it, look for the on-line video of Bruce Ramus’ animated design for the Optus stadium in Perth. Maybe in the future we will go to a stadium just to see the light shows! Pierre-Yves Panis Head of Design, Philips Lighting

colophon published by | Philips Lighting B.V. – High Tech Campus 48, 5656 AE Eindhoven, The Netherlands – editor in chief | Vincent Laganier steering committee | Anissa Abbou, Nick Bleeker, Nigel Chadwick, Marinelle van den Munckhof, Mike Simpson, Jaap Schuuring, Daniel Bausor editing | Ruth Slavid graphic design concept | one/one Amsterdam printing | APS Group B.V. ISSN nr | 1876-2972 12 NC 3222 635 71380 cover | Borgernes Hus, Odense, Denmark – AI Architects & Engineers photo | © Claus Logstrup more info |




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Optus Stadium Perth, Australia


Architects Hassell, Cox Architecture, HKS Sport and Entertainment


Lighting designer Bruce Ramus Luminaires Philips Color Kinetics iColor Accent Compact ColorReach Powercore gen2, RGBA ColorReach Compact Powercore gen2, RGBA Lighting system and software Interact Sport scene, lighting and asset management applications

Coupled with the super screens and ribbon screens in the arena, it is possible to do almost anything with this, the largest stadium lighting scheme of its type. Music and lighting can be merged to either add to the excitement of a football match or create a complete immersive environment for a concert, with coloured lights chasing themselves around the arena.




Bruce Ramus said, “People come to a stadium to see an event. This stadium then becomes part of the event. This is the benchmark for stadiums going forward.”


These projects demonstrate just how much can be achieved with graphic lighting today. The technology exists: it just requires the vision of designers and clients for us to enjoy even more and even more diverse examples.










Lighting designer, Jakarta, Indonesia


Denmark, Lebanon and Brazil

Designer panel discussion in Madrid












BMW Mini Showroom, Tel Aviv, Israel

PIK Avenue, Jakarta, Indonesia

Borgernes Hus, Odense, Denmark


New office luminaires

Graphic lighting projects



read on online and learn more about exclusive web features




© Cedric Helsly

Architect, Tel Aviv, Israel

© Cedric Helsly

Pioneer of Light Jonathan Groswasser


Israel’s modernist By Denise Close, Jean-Luc Wittersheim

Jonathan Groswasser, partner at Yashar Architects, takes his inspiration from the Modern and International style of Tel Aviv, as well as from 1960s New York. His practice is one of the largest in Israel and works as far afield as Israel and Romania.

How and when did you get started in architecture? Jonathan Groswasser: I'm one of the partners and senior team leader of Yashar Architects. I'm a graduate of the Technion (Israel Institute of Technology) university in Israel and did my masters in urban design at the University of California in Berkeley in 1998. I was lucky to live in Tel Aviv, which has undergone incredible growth and development in the last two decades. I've been working with Yashar for the past 25 years. What are the aims of your architecture practice? Of which of your architectural achievements are you most proud? Yashar Architects is one of the largest architectural practices in Israel and going through tremendous growth. I've co-designed numerous buildings along with the principal architect and owner, Avner Yashar, in Israel and around the world. One of the most note-worthy is the biggest R&D development site for Apple outside the U.S., which is in Israel. Now we're designing a 45,000 square-meter R&D center with Microsoft in Israel. We have done quite a few residential and office towers. At the moment we're designing the tallest building in Israel at 110 storeys. So, there is lots of work, and it’s interesting. We've worked in India, Russia, Cyprus, Serbia, Hungary, Romania … Our design is focused on “place making”: we try to achieve architecture that is beautiful and efficient, and to create a building that has a sense of place.

“A project that seemed good several years ago might not work today.” How have you kept your knowledge up‐to‐date? We are a young company; we try to ask ourselves relevant questions each time. A project that seemed good several years ago might not work today. What is the creative environment in Israel for an architect? Tel Aviv is a Mecca for Modern and International style architecture; it is an opportunity to present freedom of thought in architecture and not be constrained to a particular style. One of the difficulties that we have is a lack of land; it's a very dense country, and this leads to the need for a lot of high-rise and mixeduse buildings. Density means that these buildings will have a large amount of retail on the lower floors of the new office towers. Developments often have residential and office towers built side by side. There's a big challenge in incorporating all the elements in these building clusters while making them pleasant and functional spaces with a sense of place. There is now more money being invested in architecture and spent on design and architecture at all levels. And clients achieve higher rents in those office buildings.


“Light is an essential part of architecture and it brings out its essence.”

What are your sources of inspiration? To give you an example, when we did the BMW Mini Showroom in Tel Aviv, we were inspired by New York's modernist buildings from the sixties, which had open plans with visible big lit ceilings, the basic sixties modern buildings of New York. This is not the concept of the Barcelona Pavilion or a modernist villa but the idea of actually bringing the modernist intensity of New York to Israel. We were inspired by the light feel and the revolutionary idea of open-plan offices and their relationship with a modern-style building. The open plan was a totally new and revolutionary idea of how people work in offices and it was liberating, a large open space with tall ceilings. We wanted to recreate that atmosphere in a showroom, of a building that projects intensity and activity throughout the entire day.

The lighting of this building created a lot of vertical and horizontal planes. When you think about modernist architecture, it's very much about light and shape. Now these planes are being lit, and creating a free flowing space in the building. What is there that is not yet possible in lighting architecture but that you would like to see in the future? In future I'd like to be able to create complete external surfaces, which light up and create whole light planes, with more interaction by and with visitors.

Related articles

What are the most important factors in lighting architecture? Light is an essential part of architecture and it brings out its essence. Architecture is the play of light and shade. For example, for the BMW Mini Showroom project in Tel Aviv, we were looking for very soft ambient light, very evenly spread, and not challenging, competing or interfering with the architecture of the building. We wanted to keep the feeling of open space, very much in the spirit of the architecture of the building, with the ceiling evenly and purely lit. We liked the comprehensive quality of this product that met our needs.


BMW Mini Showroom Ceiling the deal ↩ page 12

© Cedric Helsly

Yashar Architects profile Yashar Architects is one of Israel's leading architectural firms, founded in the 1950s by Itzhak Yashar. It has designed some of Israel's landmark buildings. including Tel Aviv Museum of Art, the arts faculty building at Tel Aviv University, and the Dizengoff Shopping Center. Itzhak’s son, Avner Yashar, joined the practice in 1986 and has developed it into a leading firm in high-rise residential and office buildings, as well as city planning, with a team of more than 70 architects. © Cedric Helsly

Biography Jonathan Groswasser Jonathan (Yoni) Groswasser has more than 20 years’ experience as an architect and project manager on a wide range of building projects. Yoni joined Yashar in 1997 and became a partner in 2007. Since then, he has been involved with notable projects, including One Rothschild Tower in Tel Aviv, the Tzamarot Towers development and the ToHa Towers. He is currently working on the 45,000 sqm Microsoft Headquarters and R&D center in Herzliya. Yoni has lectured at the Tel Aviv University School of Architecture for over seven years.

Significant projects Mixed-used One Rothschild Tower, Tel Aviv, Israel The Landmark tower, Tel Aviv, Israel De Vinci Towers, Tel Aviv, Israel Residential towers W Tower, Tel Aviv, Israel Rom Tower, Tel Aviv, Israel White City Residence Tower, Tel Aviv, Israel Office and retail Plaza Centers Mall, Kragujevac, Serbia Vitania Delek Motors Towers, Tel Aviv, Israel SAP Headquarters Ra'anana APPLE R&D Building, Herzliya, Israel Website


© Cedric Helsly

Pioneer of Light Paul Gunawan


Focused on beauty By Jean-Luc Wittersheim

Indonesian lighting designer Paul Gunawan believes that lighting significantly influences our well-being and a building’s values. He foresees a future where lighting design’s development will help professionalize buildings’ illumination, making them more comfortable for their residents while also enhancing their architectural beauty. Lighting is a passion for you. Where does this passion come from? Paul Gunawan: I started professionally around 1995 but I first got into lighting design, thanks to my background, when I was still little. My parents worked in design and art, which trained me to see objects with different light compositions. Then I became interested in photography, which taught me how lighting affects objects in terms of color and intensity. Next I studied building physics, where I learned about lighting design and acoustics in addition to other architectural matters. I also love drawing, and started painting when I was still very little, which interested me in light and what it affects.

“The lighting conditions in which you live can have beneficial or negative effects on your health” What are the key goals of your lighting and acoustic design agency? One of my key goals is to make people realize the importance of good lighting and its impact on their daily lives – something that is generally underestimated. The lighting conditions in which you live can have beneficial or negative effects on your health, your comfort, your morale, etc. Another mission is to showcase the professional skills and qualities of Indonesian lighting

designers– their taste and know-how. There is an emerging generation of extremely creative lighting designers in Indonesia. The need is there – and growing. People are becoming more educated, more aware, of the issues related to quality lighting. What achievements are you most proud of? The next ones! I think of all my projects as achievements; the next one will always be better than the previous one! My office is an achievement; I work with very good people whom I appreciate very much. Not all of them come from a lighting or architectural background, but it's satisfying to watch them become involved with lighting and experimenting to get the best possible lighting result. I also take great satisfaction in positive comments from building owners - and from residents who appreciate living in a properly lit place. Of course, the lighting has to function as it's supposed to and fulfill its primary function of effective illumination. But you also have to touch people emotionally, excite their sensibility. Lighting choices and techniques must contribute to the quality of living and well-being. Finally, it's important to do lighting which has an effect on the immediate environment, which escalates the whole area and makes it vibrant, lively, exciting - when before it was troubled and neglected – and to contribute to the economic development of a once unpopular neighborhood thanks to appropriate lighting. What are the challenges for the future of your profession? I would like to see more standardized terms or standardized quality in lighting. Now it's like a jungle where there are no real common values. Another emerging challenge is how lighting can be tailored to each person's preferences. We should customize ambient


lighting, as we do with smartphones, so that you select what you need, and what you don't. I would love to see lighting become more integrated into materials, so that it becomes an integral part of the building's architecture and space rather than an additional element. At some point it will become necessary to have somebody who cares about your lighting; because you spend half your life in an artificially lit environment; so it’s of crucial importance and that's one of our missions.

“What’s most important is how lighting can excite people and get them emotionally affected by the space.” To what extent does lighting influence the perception of a building? Light must create emotions and excitement. It's about giving value to the building, communicating a positive message, so that people passing by say: "Wow, there's something going on here". The light "sells" the building and its purpose even before you enter it. For this reason, there are many studies to be carried out in advance: what techniques and materials will you use? What brightness and what power to install? How far should the light extend and at what pitch? What should the data transfer speed be? You need to deal with all this while also taking into account the building's functions, its

architectural design, and the environment. It's a global approach that requires controlling many parameters while respecting the client's specifications. Light is an essential part of the perception of a building and of its representation. It's essential not to underestimate it. What's most important is the way that lighting can excite people and get them emotionally affected by the space. You need to be vibrant, you need to be exciting; you need to proclaim that this is a commercial building, and it is exciting. Is a new profession of: lighting designer emerging? When I started in 1995, people were not aware of lighting design as a profession. Most thinking was about the technical side rather than the design; lighting designers worked under the architects. It was a struggle to convince clients and architects that, in addition to electrical techniques and efficiency, there's also beauty. Achievements come through collaborative work, through culture inspiring architecture and from all fields influencing each other. At the time the options for lighting fixtures and sources were very limited so we kept using the same techniques. Now we have many more technical possibilities, which we can use in service of an artistic vision, integrated in a global project. How do architects react to this evolution? Architects are always worried that the lighting will kill their building. So there's a lot of convincing to do, by showing what can be done, what can be controlled. Lighting is dangerous if it isn't controlled – or a real asset if it enhances the shape of the night-time building. Architecture has benefitted from its exposure to new ways of thinking by artists, painters, sculptors, fashion designers... and now lighting designers! Related articles PIK Avenue Promoting the space ↩ page 20


© Cedric Helsly

Significant projects Mixed-used – Tunjungan Plaza shopping mall, offices and apartments, Surabaya, Indonesia – Central Park shopping mall, apartments, offices and hotel) Jakarta, Indonesia – Emerald City shopping mall, apartments and hotel, Shuzhou, China Leisure and hospitality – Movenpick Samasta Resort, Bali, Indonesia – Sofitel Hotel Nusa Dua, Bali, Indonesia – SKYE Restaurant, Grand Indonesia, Jakarta, Indonesia – Social House Restaurant, Dubai, UAE

Commercial and retail –P antai Indah Kapuk, PIK Avenue shopping mall, Jakarta, Indonesia –P ondok Indah Mall/PIM 2 Mall, Jakarta, Indonesia Arts and cultural –M useum Numismatik of Bank Indonesia, Jakarta, Indonesia –S tella Maris Church, Jakarta, Indonesia –S culpture Summarecon, Bekasi, Indonesia Website

© Cedric Helsly

Biography Paul Gunawan Paul Gunawan was born on July 13, 1967, the younger of two sons of a professional couple. After graduating from high school, he continued his education at Bandung Institute of Technology (ITB), choosing to specialize in building physics within the faculty of physical engineering with the field of Building Physics expertise. The topics he covered included acoustics, air conditioning and lighting. After graduating from ITB in 1993, he pursued his interests, continuing to explore and setting up a limited company. Litac profile In 1994, Paul Gunawan founded Litac, the first lighting and acoustic consultant agency in Indonesia. The company of 34 people has an extensive portfolio of completed projects, both local and international, for offices, apartments, hotels, commercial complexes, museums and theaters. Litac provides a full range of services from conceptual design, technical specification tender/construction documentation and, supervision, through to commissioning of lighting, installation of control systems and full supervision of design implementation.


© Cedric Helsly


Ceiling the deal By Denise Close, Jean-Luc Wittersheim



© Cedric Helsly

© Yashar Architects

© Yashar Architects

3D visualisation and skech of the architectural volumes with BMW Mini showroom from Delek Motors. Yashar Architects

A car showroom in a dramatic position in Israel makes a statement to passing motorists thanks to the innovative use of an illuminated ceiling. The design was the result of an intense collaboration between architect, lighting designer, client and contractor. The BMW Mini showroom, at the main entrance to Tel Aviv on the east-west highway that links Jerusalem and Tel Aviv, is a landmark for Delek Motors. This glass building is a particularly innovative creation and a high-end beauty. Millions of drivers travel this way by day and night and they can't avoid seeing the innovative and elegant glass box. Designed by Jonathan Groswasser of Yashar Architects, it embodies several interesting ideas: the interaction between the building and its urban environment; the dialogue between the building's lights and the city's illuminations; and the use of luminous ceilings to create an evenly spread ambient light. According to Dorit Malin, co-founder of architectural lighting design practice IDEA: “It reflects the fact that the building is not an island. The neighborhood is like a family: each building affects the next one and the one after that. We need to have a conversation between buildings and the city.” Lighting was a major issue for the BMW Mini showroom, because the owner, Delek Motors, had to adhere to strict brand guidelines from the automotive franchise, whereas Yashar Architects submitted

an innovative concept which eschewed classic lighting fixtures, replacing them with luminous ceiling panels. The architect spent more than a year looking for a manufacturer that could meet the specification for full-surface illuminated ceilings. They needed to combine soft ambient and evenly spread light with powerful luminosity, highlighting the vehicles on show. This was one of the determining factors in choosing the Philips OneSpace solution. The luminous panels create the ambient lighting, which provides 70% of the luminance throughout the building. In order to focus strongly on the cars, ‘dark light’ spots were in-terwoven among the panels. These spots are almost invisible when you look at them, not dazzling or interfering with the ambience of the showroom – yet they enable extremely strong lighting on the cars as part of the lighting design. The inspiration comes from buildings in New York from the 1960s that used the revolutionary approach of open-plan offices with large visible lit ceilings – a “light” feel that married well with the modern style of building.


© Yashar Architects

“We created a kind of lighting beacon along the freeway, a reference point that you can't ignore but that doesn’t blind you” explained Jonathan Groswasser. Another key aspect was the need to integrate the luminous ceiling panels with the outside light. Israel’s desert climate beams extremely powerful flat light into the “glass box” showroom. BMW requires 1000 Lux (Light unit of illuminance) on the cars constantly, in order to present them in the proper light. The combined power of this illumination and the streaming desert sunlight would have made the showroom interior too bright and uncomfortable for staff and visitors. It was also necessary to adapt the interior luminance to every fluctuation in natural lighting. Throughout the morning, afternoon and evening, the core design changes and constant readjustment is needed to ensure a steady gentle light. The building uses a Dali control system to integrate the Philips lighting panels and incoming natural light. Sensors and light mounts all over the showroom give the computer orders to reduce or increase lighting intensity at any given moment in the day or night.


“It's like dynamic lighting with the sun, because the sun is dynamic, so it's changing all the time,” explained Dorit Malin. Another major feature was flexibility in panel size. Each of the building’s three floors has approximately 500 square meters of lightpanel ceiling. Philips customized two panel sizes while keeping other specifications standard in agreement with the customer and the architect to retain user-friendly features related to maintenance and after-sales support (cleaning, electronic management, etc.). Obviously the panel material needed to meet fire requirements. In addition, one unusual lighting specification, however, was good acoustic quality. Reverberating sound within the building's 6 to 7 meter high ceilings and against its hard materials needs to be attenuated. Customers and advisors in the showroom's large open spaces want privacy for their transactions.


© Cedric Helsly

© Cedric Helsly

The OneSpace prefab panels used in the three floors of the building ceilings. Sprinklers and air conditioning integrated between the panels.

“The architect was looking for a unique combination of very good acoustics, very comfortable and high-quality light and also a toprate look and feel in keeping with the image of the building,” said Alexey Koshkarov, a business development manager with Philips Lighting. Lighting budget considerations were also essential. Architectural lighting designer Gabi Stern says that the secret is to use highquality LED, which has a longer lifetime, lower energy consumption, and does not require as much maintenance as other lighting solutions. The Seagram Building in New York, designed by architects Ludwig Miles van der Rohe and Philip Johnson with lighting designer Richard Kelly, inspired the artificial lighting design for this project, explained Dorit Malin and Gabi Stern. Architect Luis Barragán in Mexico provided further inspiration through his passion for natural light. The architectural lighting-design duo acquired valuable insights about the sun from his experience, because Mexico and Tel Aviv are on the same latitude.


This achievement demonstrates how integral large luminous panels were to the architectural decisions and had a significant impact on the project. As Gabi Stern explains, if you change the ceiling illumination model, “the sky” as it's called, you change the product, the architectural perception, the impact on clients and users as well as how the showcased cars are highlighted. All agree that there was a constructive dialogue and a successful co-development. The architects focused on the appearance and construction approach as well as on how to translate their concept into something tangible. The lighting designers were particularly preoccupied with light levels and quality; they did countless lighting calculations, checked all light output technical data and estimated electronic failure rates. The customer was naturally concerned about maintenance as well as the budget. It’s a huge investment for Delek Motors. Finally, the construction company, Vitania Ltd., was vigilant about technical requirements, installation constraints, control systems and acoustic properties.

Architects Yashar Architects Jonathan (Yoni) Groswasser Adi Davidov Lighting designers IDEA-LS Gabi Stern Dorit Malin Engineer and installer Vitania Ltd.

Lighting systems Philips Large Luminous Surfaces OneSpace prefab panels 3000 K 1733 x 2400 mm 1733 x 1860 mm Websites

Related articles Pioneers of Light Jonathan Groswasser ↩ page 4 Musée d’arts Nantes, France  Luminous 19 LAC Eindhoven, NL  Luminous 14

© Cedric Helsly

Client Delek Motors Memi Moshe

© Cedric Helsly


Promoting the space By Jean-Luc Wittersheim



Chayolite installed each fixtures on the façade elevation from PTI Architects based on the plans from Litac Consultant lighting design.


© Cedric Helsly

PIK Avenue brilliantly demonstrates how LED lighting can give a building energy and vibrancy. PIK Avenue (Pantai Indah Kapuk) is near the sea in northern Jakarta – one of the Indonesian capital's most prestigious neighborhoods. It is a mixed-use project with a shopping mall and a hotel consisting of two towers. The building itself is a remarkable achievement, especially its façade, which draws in the surrounding space with its majestic curves. After several discussions, the owner, PT Multi Artha Pratama (Agung Sedayu Group), agreed to use dynamic façade lighting to enhance the building. Paul Gunawan's agency, LITAC lighting and acoustic consultant, designed the lighting. Gunawan was given significant creative freedom. The team worked with the architect on several dynamic lighting scenarios to develop the optimal solution, taking into account the specification and the building's distinct features as well as its environment. Philips contributed to the initial thought process and advised the project team, providing various samples and assisting in finalizing the outcome. The team chose to illuminate PIK with horizontal lines in order to respect the building's distinctive architecture. Vertical lines would have changed the perspective by making the building seem even larger than it actually is.

Because of the building's volume and the need to create an impression at a distance, standard techniques or ready-made solutions were out of the question. The architecture's complexity called for customizable lighting technologies. Paul Gunawan chose Color Kinetics by Philips, which allowed great creative flexibility while meeting the requirements for low power and reliability in such an ambitious project. The use of these products also guaranteed that the installation would be sustainable and durable. The product used was iColor Flex LMX Gen2, which consists of flexible strands of large, high-intensity, full-color LED nodes designed for extraordinary effects and large installations, without constraints of fixture size, shape, or space. Each strand comprises 50 individually addressable LED nodes, with dynamic integration of power, communication, and control. Paul Gunawan said, “It's obvious that we can't get away with any other light sources.


A system that can be controlled in this way, that can project colors and provide brilliance, is only available with LEDs. We need what LEDs offer, along with the wiring system, the power distributors; it's part of those things that conventional lighting cannot do”.

Client PT Multi Artha Pratama

Integrating effective lighting in facades is one of the most interesting aspects of a lighting designer's work. PIK's integrated illumination required countless exchanges with the architects and technicians to ensure the devices didn’t look like artificial outgrowths in daylight. For Paul Gunawan “use of the LED fixtures creates a layer like an extra skin over the building, with lighting that can enhance the design and beauty of the building”. Philips Value Added Partner Chayolite played a key role in realizing the façade's shining magnificence.

Lighting designer Paul Gunawan, LITAC

Architect PTI Architects

Value added partner Chayolite Lighting solutions Philips Color Kinetics iColor Flex LMX Gen2 Lighting system Philips Color Kinetics Light System Manager

© Cedric Helsly



Related articles Pioneers of Light Paul Gunawan ↩ page 16 Town of Veghel The Netherlands  Luminous 17 BCP Afinity Lima, Peru  Luminous 14

© Cedric Helsly © LITAC

iColor Flex LMX Gen2 fixture

Cable Cavity



This detailled cross section on the façade shows the exact installation of each iColor Flex LMX Gen2 fixture to create an extra skin over the building.



A place for By Luigi Prestinenza Puglisi

© Claus Løgstrup

the people

AI Architects & Engineers was commissioned to transform a large portion of the Odense Railway Center into a modern assembly house with a range of public activities. Thanks to a gold finish and the use of light, the building became an attractive meeting point.


3D visualisation of the citizen house: daytime, at the dusk during opening hours, begining of the night. AI Architects & Engineers

The project developed in two phases. There was a preliminary period, managed with the Danish Design Centre, Blue Bakery and Urgent. Agency, during which citizens helped define the brief to the architects. The project was then developed by AI Architects & Engineers, a practice that specializes in projects with a strong social impact, such as community centers, schools and housing. The municipality commissioned the design team to transform a large portion of the Odense Railway Center into a new 6,500 square meter library space that provided the things the citizens wanted: a music library, the citizens’ service, the Center for Civil Society and the Odense Center.


“Our practice,” explained Tomas Snog, creative director of AI, “is a cross-disciplinary group of engineers and architects in equal number, able to provide an equally balanced response to both technical and aesthetic issues. With this building for the city of Odense we wanted to create a high-performance urban hub, without transforming it into something cold that the public would not appreciate. We wanted to build something that people would love and remember - a point of reference.” The building needed to be an open and welcoming assembly house that was also recognizable.: To achieve these aims, the designers decided to limit changes to the existing façade, simply giving it a new gold finish. In addition to its positive connotations (wealth, durability, value), gold is a luminous material that has been used with growing success by architects, very often in the renovation of existing buildings. A perfect example is offered by one of the buildings at the Fondazione Prada in Milan, renovated by Rem Koolhaas, who decided to cover it entirely with gold leaf. The same is also true of a growing number of designer objects, for example the gold pieces designed by Philippe Starck.

© AI Architects & Engineers

The Citizen House in Odense, Denmark is the result of a participatory process sponsored by the local municipality and actively involving inhabitants in the creation of a dynamic and lively center designed to meet their needs.


© Claus Løgstrup

Snog said, “Gold is a material that reacts well to light: both natural and artificial. It makes the building look inviting and transforms the facade into something attractive and easily identified. It gives the building a new character and identity”. During the day, the golden façade glows under natural light, and at night it is illuminated by LED lights - special eW Graze QLX Powercore luminaires from Philips Color Kinetics. “The system we selected offers a broad spectrum of configurations of intensity and color,” said Snog. “However, we preferred, at least at the beginning, not to fully exploit this possibility, except on a few special occasions. It became clear to us that over-dramatic and frequently changing effects risked giving the impression that the building had been designed to be observed from outside, rather than to be used from inside.

“Designing the façade together with its lighting was a particularly difficult adventure, as engaging as it was enjoyable,” he continued. “It required the development of a large, 5-metre high model that we used to verify how the lights would actually work in reality. A mistake with the lighting would have compromised a large part of the project, so we focused maximum effort on this.” When asked whether the team had used an external consultant, Snog explained that AI Architects & Engineers developed the project with the support of technicians at Philips Lighting and its valueadded partner Dalgsgaard: “Together we managed to create a system that brings the building to life and guarantees optimum performance in terms of visual effects, running costs and maintenance. This is perhaps the secret to its success,” he said.



Lys Facaden forandre sig med både det naturlige og det kunstige lys. De gyldne lysninger fanger sollyset og reflektere det ind i bygningen og ud i gaderummet. Lyset synliggør Borgernes hus i byrummet. Om aftenen vil bygningens indre lys reflekteres ud via de gyldne lysninger. Den gyldne farve er en varm og venlig invitation til at komme ind og gå på opdagelse i huset. Om natten vil LED lys oplyse de gyldne lysninger, så facaden bidrager til at skabe et trygt og oplyst byrum

© AI Architects & Engineers

During the day, the golden facade glows under natural light, and at night it is illuminated by LED recessed lights made with special eW Graze QLX Powercore luminaires.

© Claus Løgstrup

© Claus Løgstrup

foran Borgernes Hus.



© Claus Løgstrup

The drama of the golden exterior is matched internally by a large empty space whose main point of interest is a sculptural stair known as the “Harry Potter Staircase”, because it appears to float. The stair is the ideal fulcrum around which the building’s different functions are arranged. It is a point of reference and orientation for anyone moving through the Citizen House. Gold was also used on the stair and the ceilings in the central space, lit by another LED system with Philips Color Kinetics strand light points eW Flex. The warm white lights are housed in gold-coloured aluminum bars that are an integral part of the architectural design. Using integrated LEDs made it possible to obtain a continuous, smooth and uniform surface: a stage set for life inside the building.

The notion of a building as an open book, with longer opening hours than other public buildings and which allows people to act and furnish it as they like to contribute to the overall image of architecture, has been a winner. This is demonstrated by its success with the public and a wealth of positive feedback. “Architecture” Snog concluded, “is made for its users and this is how it must be judged in the end. In Odense, thanks to the use of gold, light and, most importantly, citizens’ help in defining the concept, I think we managed to obtain a positive result.”

“We wanted to create a structure with a characterful design” Snog said “that, at the same time, offered people the opportunity to complete it: an open work that recalls the words written in a wellknown book by the semiologist Umberto Eco. In fact, people were asked to bring their own furniture, to avoid an over-designed appearance or the feeling that the building’s users were merely passive spectators. All we did was provide space and light. It was interesting to observe how people re-used their belongings to create a warm, attractive and non-institutional environment.”


© Claus Løgstrup

© AI Architects & Engineers

Client Municipality of Odense

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Lighting design AI Architects & Engineers Philips Lighting Installer Bravida

Musée des Confluences Lyon, France  Luminous 15 HSH Nordbank Hamburg, Germany  Luminous 1 La Montée du Boulevard Lyon, France  Luminous 11 Carlos Montufar

Structural engineering Henry Jensen A/S

HSH NORDBANk PRIvATE BANkING, HAMBURG, GERMANY HSH Nordbank wanted to offer a special ambiance for their customers with the possibility of changing the atmosphere with lighting to reflect the events taking place in the building. The space is also used for cultural events, such as piano recitals and literature readings. During office hours, the lighting system is used to create a dynamic ambiance and stress the time of the day for clients and staff. Cove Lighting is used in an AWB, Amber, White, Blue programming mode. RGB will only be used for events. The highlight of the interior design is the High Grade Steel Stairs; although it is possible to change the colour of this stairway, HSH Nordbank has decided to keep it blue in the colour of the company.

Client HSH Nordbank private Banking

Architect Nugent Heitmann Montufar NHM architects, Hamburg, Germany Planner Pinck Ingenieure, Hamburg

Lighting Design Carlos Montufar, NHM architects Lighting solutions Myla Störtebek, Philips Germany

Light sources Cove lighting Inside the niche created in the architecture: Philips Cove lighting AWB, low power LEDs High Grade Steel Stair lighting Behind the translucent glass: Philips LEDline2, Philips High Power LED

Controls: Philips ColourChaser DMX and Colour Wheel

Luminaires Façade Philips Color Kinetics special eW Graze QLX Powercore, 2700K, digital dimming Harry Potter stairways Philips Color Kinetics eW Flex, 2700K

© Claus Løgstrup

Sculptural stair known as the “Harry Potter Staircase”.

Lighting system Pharos LRC9689 LPC 4, POE Websites


PHILU013-01 Luminous_Issue 1_UK_V15.indd 15

6/4/2008 10:31:38 AM

© Santiago Bautista


CLUE 2018 winners By Ruth Slavid

Emerging lighting designers from Denmark, Lebanon and Brazil are the winners of an international competition on city lighting. The fourth CLUE (Community Lighting for the Urban Environment) Competition took as its theme developing a lighting design that helps city users reconnect and enhances their experience of public spaces by using their senses.


© Santiago Bautista

1st prize: First prize went to Santiago Bautista of Denmark for a project entitled ‘SOL’ (Suspended Omni Light). This project aims to recreate the lighting and acoustic conditions of Mediterranean countries in the regions of the world that have the darkest winters. It does this by suspending a large illuminated balloon from three steel wires to fix its position in the air. The color and intensity of the light from this artificial sun vary throughout the day to provide lighting conditions that are similar to those in the chosen location. The installation also generates sounds that vary throughout the day to mimic the sounds of nature on a spring day.


“There is something magical about the idea of tethering the sun to a public plaza.” Zachary Suchara, jury member

“What I found intriguing was its use of almost all of the senses.” 2nd prize:

Peter Hugh, jury member

© Kareem Asfahani

Second prize was awarded to Lebanese designer Kareem Asfahani for a project called Auraroma. In an effort to counteract the paucity of public space in Beirut, the scheme transforms the currently run-down Beirut Staircases into a multi-sensory environment, with a roof of interwoven acetate strips that are rotated during the day to change the hues, while natural light also filters through. The strips are imbued with scents, changed twice a year, with different ones released at different times of day.


© Caroline Haydee De Carli and Joao Pedro Lopes Andrade

“If nothing else, it’s a delightful sensory experience where light is, as always, at the center of it all. I say, let’s build “awallnesses” everywhere!” Sandra Vásconez, jury member


3rd prize Third prize went to Caroline Haydee De Carli and Joao Pedro Lopes Andrade from Brazil. Their project, called Awallness, aims to create empathy between people divided by the West Bank barrier in Israel. It would involve attaching a panel to the 18km-long wall that responds to touch so that people on either side could see when somebody had touched the panel and then they could also speak to each other through the wall.

© Daria Nikolaeva

© Titus Pandu Wismahaksi and Maria Nersiartista Putri

© Amir Farzan Mirmohammadi

Honorable mentions In addition to these three winning schemes, for which the creators received, respectively, $5,000, $2,500 and $1,000, there were three honorable mentions, given to entrants for the quality and innovative nature of their approaches. These mentions went to Amir Farzan Mirmohammadi of Iran for ‘Restoring a Reflection’, to Titus Pandu Wismahaksi and Maria Nersiartista Putri from Indonesia for their project, ‘The Blind's Senses’ and to Daria Nikolaeva from Russia for her project ‘Phil’.

The competition, aimed at students and young designers, is supported by the Philips Lighting University. The topic evidently struck a chord around the world since there were a total of 361 submissions from 58 different countries. The jury members said they were impressed not only by the quantity but also by the quality of the entries, and by the perception that the entrants showed. Following the success of this competition, the next is eagerly awaited. The fifth CLUE competition will be announced in fall 2018.

Learn more about these projects on the CLUE website You can also find out more and read interviews with the winners on the Philips blog


Š Contraste

Sander Cornelius Laudy

In the

fabric By Ruth Slavid

Embedded light offers great opportunities to designers to make surfaces that can change and adapt. This conversation, which looks at potentials and limitations, was chaired by Sander Cornelius Laudy of B01architectes. The participants were Bart Wigman of Gielissen (NL), Sarah Chiappi, from SMC (UK), Suzanne Wright of Thinkwell (US), Jonathan Groswasser of Y.A. Yashar Architects (Israel), and, Carlos Temprano from AECOM (Spain).


© Contraste

© Contraste

Carlos Temprano

Sarah Chiappi

“Involving your lighting team from the very beginning is key.” Carlos Temprano

Suzanne Wright: Many of our projects have some element of embedded lighting. If we want someone to walk down a certain hall we will use lighting embedded in the carpet or in the walls. If we want to stop somebody, we use that as well, and we use it for wayfinding a lot, as well as to illuminate and add accents to the design. Sarah Chiappi: What I think has been lovely about embedded lighting is it’s taken us into a diverse set of environments, whether that is creating a calm, interactive color environment for an autistic child in a home, or a reception area that has lots of TVs, lots of very dynamic, moving images. Jonathan Groswasser: We’re now all moving into open spaces and there are all these “we work” and “we live” kind of spaces and the whole business atmosphere is changing. When you use embedded lighting you have way more flexibility and opportunity for changes. Throughout the years you can see how these business facilities can really respond to the changes with embedded lighting.

Carlos Temprano: At large facilities like airports the design evolves from the very beginning. You need to be open to new ideas, to have a clear aim to communicate something to the passengers. Sometimes we use light for intuitive wayfinding, sometimes it’s more a “wow” effect for the very first impression you give people in a country. The larger the project, probably the more demanding the client, and they’re asking for state of the art technology. Sometimes you come to a solution, they say “okay now I’ve seen this before, and I want something never seen before, second to no one” we say: “okay let’s...let’s give it a thought, what can we come up with”, but it’s not only in the technology but in the overall idea. Involving your lighting team from the very beginning is key. You need to involve the whole team from the very early concept stages. Suzanne Wright: It’s a great time for us now in our work on museums. The way we incorporate interactives and lighting in one overall design has definitely been driving a lot of our work not just in museum spaces, but experiential centers, which is the new thing.


Sarah Chiappi: The driving message from architects and interior designers is that they want very clean spaces, they want to remove as many objects that are on the wall as possible, and with embedded lighting we have an opportunity to do that. It’s starting to become part of the fabric of the building. It’s all about designing it in from the outset. You can only achieve these beautiful finishes if you’ve planned for them; there’s an awful lot of work that goes on behind the scenes to have these beautiful clean lines at the end. Sander Cornelius Laudy: What would you like to see in five years’ time? Bart Wigman: In the near future no doubt my hotel room will recognize me, the door will open for me, it’ll put on the light which I’d like to have at that momento. You can imagine lots of those things. The interesting thing and the fun part is we just don’t know.


© Contraste

© Contraste

Bart Wigman

Suzanne Wright

Jonathan Groswasser: Recently we’ve done the BMW showroom. That’s a building that’s viewed mostly from the freeway, and it’s a stacked floor showroom so cars might be as high as 20 meters above the freeway. In the evening the ceilings shine out and create whatever people see on the streets. So this was a breakthrough project for embedded lighting, we just converted all the ceilings into a light. We’ve been talking for many years now, about the Internet of Things so I think light would be incorporated into the Internet of Things and people would then have different habits, they would be able to have devices that talk back to them, according to the preferences that they have. Carlos Temprano: There will be an Internet of lights or at least an Internet of spaces, where you can communicate to a public place or maybe a room, you can configure your preferences and maybe this will also be a self-learning space, learning from you. Our relationships with spaces will evolve. Sarah Chiappi: As an installer of the technology, we like the fact that it is so flexible. The architects and interior architects and designers that we work with love the ability to change luminous textiles depending on the time of day or time of year. They might have more active content on a panel in the morning, whereas you might have a sunset when it’s home time, some cool refreshing content if it’s hot outside...

© Contraste

“We need to try pushing those products even further, so that they’re usable in more spaces.” Carlos Temprano

Jonathan Groswasser

Suzanne Wright: We need to try pushing those products even further, so that they’re usable in more spaces. The problem I face a lot where we have heavy traffic, such as in a museum, is that a luminous carpet is amazing, but it has to be refreshed so often that we have to look for more resilient flooring or products that will last longer. We’re looking at ways to take the technology which we love and use it in a more sustainable way so we can use it for a longer period of time. Bart Wigman: We had that discussion about wall textiles too. We actually used Corian instead of the textiles. It sounds as if all of us who are working with embedded lighting are still struggling a bit. Logically, a company like Phillips could bring best practice together and make sure we all learn from each other. Suzanne Wright: Every client we get wants the new “Wow”, the thing that no one’s seen before. And sometimes the technology is just not where we want it to be right now. So we need to find ways around that to make it work. Having a partner like Phillips where you can bring an idea to them and they’re more than willing to jump on board is really helpful.

Learn more Watch the complete recording of the interview on Philips Lighting University channel: Websites



© peshkov

© peshkov

Hard at

work By Ruth Slavid

The next generation of lighting products has been designed specifically to make the lives of people working in offices more productive and more pleasant. Use of the latest technology allows them to respond to the work patterns of individual occupiers. As offices have evolved along with the technologies that we use at work, so have our demands on the lighting that we use in our offices. The offices themselves morphed from cellular places to open plan, to today’s diverse surroundings in which generalised open plan combines with meeting rooms, places for quiet study and relaxation, and breakouts and social spaces. In response, Philips Lighting has introduced a number of new ranges to improve the experience of people working in offices. The Trueline range is designed to unite all these diverse spaces with a single lighting solution that gives an elegant look to all the spaces while satisfying a variety of needs. The bar-shaped LED luminaires can be suspended, surface-mounted or recessed,

and they are available in both officecompliant and non office-compliant formats – the latter appropriate for creating dramatic lines of light in corridors. When combined with additional lighting controls, TrueLine can also support movement detection to provide lighting only when and where it is needed, while still delivering adequate light levels and comfort for the people within the space. Another solution, aimed particularly at office working areas, as well as education establishments, is TrueLevel. This consists of simple, visually pleasing suspended luminaires that give an excellent even spread of light on ceilings. There is an option for an asymmetric optic, and the luminaires can also be paired with advanced lighting controls. Both TrueLine and TrueLevel provide visually pleasing solutions that will fit with most contemporary office design, but in some cases designers want an even more minimalistic appearance. In this case, a surface of light luminaire like SlimBlend may be the solution, since it offers an ideally calibrated illuminated ceiling. Available in square and rectangular shapes, it employs several technical advances that may not be immediately obvious to the office user. Its slimness (the clue is in the name) is a very slender rectangular light that can

be either embedded in the ceiling or suspended from it. The luminaire uses the ‘trapped light’ under the masking in a ceiling grid to give a gentle glow. The result is minimal glare. Because of the slimness of the fitting, it does not interrupt other services. Enabled by integrated sensors, SlimBlend can be wirelessly controlled. It gives a very even reassuring light, minimising the need for other lights, and so also minimising energy usage. Another innovation for comfort and productivity is Tunable White, a technology designed specifically to enhance the feeling of health and well-being by delivering lighting, which supports the circadian and daily rhythm of office workers. Colors vary between 2700 and 6400 K, adequately responding to the natural light curve outside – cooler light at higher colour temperatures at the start of the day, and warmer light at lower colour temperatures in the middle and end of the day. Light levels can also change during the day, and particular scenes can be used with, for example, dimmed lighting in a board room, where the atmosphere needs to be a little more relaxed. These different lighting systems show that, in the exciting, fast changing and demanding world of work, there is appropriate lighting available that is well-designed, economic to use and, most important of all, provides comfort and illumination in a way that satisfies the needs of the diverse workforce.


© Philips Lighting © Philips Lighting

TrueLine Width, length, height 55 x 1130, 1450, 88 mm Source LED System lumen package 1500 to 7700 lm System power 10.2 to 42.5 W Dimming ActiLume, Power over Ethernet Color rendering index > 80 Color temperature 3000 K, 4000 K e-catalogue


SlimBlend Width, length, height 300 to 600, 600 to 1250, 50 mm Source LED System lumen package 2800 to 5000 lm System power 25 to 40 W Dimming DALI, Power over Ethernet, SpaceWise, ActiLume

Color temperature 3000 K, 4000 K e-catalogue

© Philips Lighting

© Philips Lighting

Color rendering index > 80

Pioneers ONDERWERP of Light 47

© Philips Lighting

TrueLevel Width, length, height 125, 1477, 52 mm Source LED System lumen package 3100 to 7700 lm System power 21.5 to 61 W Dimming DALI Color rendering index > 80 Color temperature 4000 K

© Philips Lighting



A single lighting solution gives an elegant look to all the spaces while satisfying a variety of needs

Office lighting checklist How to deliver workplace lighting that meets – and exceeds – the standards. Values and features you need to look into to ensure maximum comfort at the workplace.

1. Light levels 2. Uniformity 3. Unified Glare Rating (UGR) – Direct Glare 4. Indirect glare and Display screen equipment (DSE) 5. Cylindrical illuminance and modelling 6. Illuminance on walls and ceilings Learn more


© Moment Factory, 2017 Montréal, Québec, Canada

Jacques-Cartier Bridge Montréal, Québec, Canada Lighting designer Moment Factory Multimedia and lighting studios Ambiances Design Productions, ATOMIC3, Éclairage Public/Ombrages, Lucion Média, Réalisations and UDO Design Luminaires Philips Color Kinetics iColor Accent MX Powercore Lighting system installation Pomerleau Websites


statement By Ruth Slavid

The graphic lighting technology is now available to enable designers to use graphic lighting in a way that gives a strong identity to a development – or an entire city.

Hendrix bridge Zagreb, Croatia Lighting designer Dean Skira Luminaires Philips Color Kinetics eW Graze MX Powercore Vaya Linear MP, White Vaya Flood LP G2, RGB Lighting system and software Philips Dynalite lighting control system Philips Color Kinetics iPlayer 3 controller Website

Š Philips Lighting

Making a


Uğur İbrahim Altay, mayor of Selçuklu municipality – which commissioned the project – said: “The Tropical Butterfly Garden is one of the most important symbols of Konya. The LED lighting system and fixtures have added value to the silhouette and appearance of our city.”

© Savas Keskiner

Not many cities have butterfly houses, but the vast majority have bridges, some distinguished and many just adequate. Graphic lighting can be used to make bridges really special, particularly if they have structural elements that are worth celebrating.


Zagreb in Croatia has the luxury of seven bridges in total, of which the best know locally is a railway bridge, known as the ‘Hendrix Bridge’ because of a giant graffito of the musician’s name, put at the centre of the main span about 20 years ago. The scheme by lighting designer Dean Skira for this elegantly single-arched bridge, seems at first sight pleasing but modest. Linear white light follows the beams and columns. However, when a train passes over, this changes. A thermal camera registers the movement of the train, and the white lighting shuts off. RGB reflectors on either side of the track come on and the train becomes a dynamic light show as it travels across the bridge.

Konya Tropical Butterfly Garden Konya, Turkey Architecture, engineering and lighting design ARUP

© Savas Keskiner

Luminaires Philips Color Kinetics ArchiPoint iColor Powercore ColorReach Compact Powercore ColorBlast Powercore

The project uses 740 Philips Color Kinetics Vaya white linear luminaries; 56 Philips Color Kinetics eW Graze MX Powercore white fixtures and 26 Philips Color Kinetics Vaya Flood MP G2 RGB fixtures. A motion sensor, which detects approaching trains, is connected to the control system.

multimedia practice Moment Factory, working with six local partners devised a lighting scheme that adds additional drama to the latticework of the structure. The appearance is almost as if fireworks are shooting along the steel elements of the bridge.

Ivan Babić, head of infrastructure services for the city, said, “The innovative LED lighting highlights the grandeur, color and the beauty of the bridge. It’s become a tourist attraction with people often stopping to take pictures in front of it.”

What makes this particularly special is that the level of activity of the lighting, which uses more than 2,200 intelligent color changing Philips iColor Accent MX Powercore LED lights, responds to the number of times that people share the word ‘Montréal’ on social media. In other words, the more enthusiastic people are about their city, the more exciting a light show they get.

While the Hendrix bridge responds to trains travelling over it, the Jacques-Cartier Bridge, in Montréal, Canada, responds to the behaviour of an entire city. Design

Lighting system and software Philips Color Kinetics Light System Manager Website


© Optus Stadium

Gabriel Pontbriand, senior creative director at Moment Factory, said, “The excellent resolution and dimming attributes of the Philips Color Kinetics LED lighting system were key for the designer team to tell the living story of our city, our seasons and our people.”

Lighting designer Litac Consultant has created a dynamic light show of changing colours and patterns that runs across the facades of the shopping mall, highlighting its interesting form and creating a landmark for this part of the city. Read about this project in full on page 20.

If graphic lighting can achieve so much with existing structures, with new structures the potential is virtually unlimited. This can be seen at the PIK Avenue mix-used project in North Jakarta Indonesia. Comprising a shopping mall and two hotel towers, the development, which with its barrel shaped turrets is reminiscent of a medieval castle, sits on a major traffic intersection.

PIK Avenue is a lighting scheme that visitors and passers-by can watch and admire, but at Optus Stadium in Australia, visitors are within the show. As part of the total stadium lighting design done by the Signify Australia, Graphic Lighting Designer Bruce Ramus created the exterior lighting concept for three separate lighting systems for the arena: façade, arbour and roof halo.

PIK Avenue Jakarta, Indonesia Architects PTI Architects Lighting designer Paul Gunawan, LITAC consultant Luminaires Philips Color Kinetics iColor Flex LMX Gen2 Lighting system Philips Color Kinetics Light System Manager Websites


Optus Stadium Perth, Australia

(façade , arbour and roof halo) Architects Hassell, Cox Architecture, HKS Sport and Entertainment Lighting designer Bruce Ramus

Lighting system and software Interact Sport scene, lighting and asset management applications Websites

As a result façade lighting sweeps around the entire building with 1.4 km of iColor Accent Compact RGBW lights embedded into the façade of the structure; separate lighting is allowed for the arbour, an outdoor structure for a 500m long pedestrian walkway consisting of 42 separate arches and roof halo expression is achieved using 650 RGB Colour Reach and RGB Compact Reach fixtures.

Music and lighting can be merged to either add to the excitement of a football match or create a complete immersive environment for a concert, with coloured lights chasing themselves around the arena.

All this coupled with the super screens and ribbon screens in the arena demonstrates that it is possible to do almost anything, and makes Optus stadium as the largest stadium lighting scheme of its type.

These projects demonstrate just how much can be achieved with graphic lighting today. The technology exists: it just requires the vision of designers and clients for us to enjoy even more and even more diverse examples.

Bruce Ramus said, “People come to a stadium to see an event. This stadium then becomes part of the event. This is the benchmark for stadiums going forward.”

© Cedric Helsly

Luminaires Philips Color Kinetics iColor Accent Compact ColorReach Powercore gen2, RGBA ColorReach Compact Powercore gen2, RGBA

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Pioneers of Light MusĂŠe des confluences, Lyon, France Architects: Coop Himmelb(l)au & Partner Lighting designer: Har Hollands Lichtarchitect

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