Luminous 22 - Architectural lighting

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International Lighting Magazine 2018/22 Autumn Issue

Pioneers of Light Antonio Cruz, Dejan Todorović

Virtual reality and 3D visualization

Home, street and fashion lighting

Architectural Lighting

EDITORIAL Light has always played a key role in architectural designs, and good architects have understood the importance of lighting design and of safeguarding its integrity. As technology has advanced, so have the opportunities for lighting buildings. In this issue we look at the architectural careers of two architects who are pioneers of light, and particularly of using projectors. We then examine how they have used projectors on two of their buildings which share their innovation but in other ways could not be more different. The MoCAB in Belgrade is a museum of contemporary art which has been given a through refurbishment and a new approach to display, with lighting highlighting the unique mid-Twentieth Century architecture. The new football stadium for Atletico de Madrid in Spain is a completely modern piece of architecture, designed to highlight the game and give the best possible experience to both players and spectators. What they have in common is the way that the architectural lighting enhances the building and optimises the way that it functions. Our education section investigates the simulation of a three-dimensional environment through virtual reality (VR) glasses, and the value this can give to the presentation of lighting in the areas of fashion retail, of home lighting and of pedestrian streets. It shows how, for the first time, it is possible to demonstrate the impact that a particular lighting solution will have, and allow users to explore changes before the actual systems are in place. We also look at new techniques in the lighting of shops, which make it possible for them to offer unique experiences, creating environments where shoppers will want to come because they are offered much more than the merely functional experience that they can have online. Our report on a debate in Amsterdam with leading lighting designers focuses on the Internet of Things and what this means for lighting design, as a lighting point becomes so much more than just that. It is good to be able to share with readers the insights and stimulation that the participants in this debate enjoyed – to provide food for the mind in this exciting and rapidly changing world. Pierre-Yves Panis Head of Design, Philips Lighting

colophon published by | Signify – 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 editing | Ruth Slavid graphic design concept | one/one printing | APS Group B.V. ISSN nr | 1876-2972 12 NC 3222 635 71742 cover | Museum of Contemporary Art, Belgrade, Serbia renovation architect | NOOTO photo | © Cédric Helsly more info |




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Architect, Belgrade, Serbia

Architect, Sevilla, Madrid, Spain Amsterdam, Netherlands


Mocab, Museum of contemporary art, Belgrade, Serbia


Wanda metropolitano stadium, Atlético de Madrid, Madrid, Spain


Home, street and fashion lighting

Lighting designer panel discussion in Amsterdam





Main lighting quality criteria for retail



Architectural lighting and heritage buildings



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© Cédric Helsly

Pioneer of Light Dejan Todorović


Designing Beauty By Denise Close, Jean-Luc Wittersheim

Serbian architect Dejan Todorovic has worked on extremely diverse projects in Spain as well as Serbia and is keen on architecture in every way, shape and form. For Dejan Todorovic, lighting is the essentiel element in architecture, especially when as regards illuminating a museum and its works of art. How did you get started in architecture? When I was seven years old, my neighbor’s son had a toy that fascinated me. So I told my mother: “I want to have that”, and she said “We can’t buy it, it’s not sold in Belgrade". So I asked: “Okay, but why does he have it?” She replied: “Because his father is an architect and he travels a lot.” So I said “I want to be an architect”! Afterwards, I attended a secondary school for technicians in architecture, which prepared me for university in Serbia. That was my first connection with architecture, yet I found the teaching was too strict, the duplication of a model and concepts that hadn’t evolved for decades. For me, architecture isn’t like THAT – it’s completely different; it’s about research and imagination. What are the highlights of your career? After graduating from Belgrade University’s Architecture Faculty in 1992 I worked in Spain for 14 years. Living and working there was exciting– a period rich in experiences and creativity. While there I collaborated with several architectural studios, then founded my own firm “Off Project.” During this time I also pursued other activities, notably teaching at Madrid’s Polytechnic University. In Spain we did several social housing and housing projects, and recycling centers, but the main emphasis was on ephemeral architecture and temporary displays for museums, exhibitions and commercial centers. Once back in Belgrade I founded NOOTO, an architectural design studio. This gave me the opportunity to work on extremely diverse architectural projects for widely varied uses, and on the reconstruction of the Museum of Contemporary Art in Belgrade (MoCAB). In Serbia, in addition to the MoCAB, my most important works are the Bregalnicka St. housing project, family houses in Bregovita St. and Kosmaj, a kindergarten in Pregrevica St., hotels in Visegrad and Sokolac, and the Marina Dorcol mixed use complex. I also started my own label selling handcrafted products.

In 2016 I was vice commissioner and now in 2018 I am a commissioner of the Serbian pavilion at Venice’s Biennale of Architecture. Everything about architecture interests me – that’s the point. I want to practise and learn as much as I can. I don’t want to be categorized – and stuck in one field! – but to experience all aspects of architecture. Which aspect of your work is most important to you? The architectural projects, of course – but also encounters with prominent personalities: those gurus that you meet, if you’re lucky, from time to time. Those meetings were very important to me. When working on MoCAB I met Slobodan Nakarada, the director, who is one of my gurus. Another very important person in my life was Luis Maldonado, who was a director of the architectural school in Madrid. There is also Jesus San Vicente, my colleague and friend from whom I learned a lot. People like this affect your life and professional career forever. How do you keep your knowledge up to date? I like to read, to write things down – just thoughts or words or little drawings, to help me remember. We have such a fast way of living, at night we can’t even remember what happened during the day; there’s just too much of everything. So when my sensibility is touched by something, I try to write it down, or draw it. What achievements by other professionals inspire you? It’s difficult to say. I like to learn from unknown as well as famous architecture. I don’t re-call the names; there are situations, sensibilities, which may or may not influence me. I like to research, or discover architectural work, try to understand it through details, view it differently than others would.


It’s always a major feat to properly illuminate a museum. That’s why, in general, the best references for artificial lighting are found in museums. Since childhood, I have looked at buildings. It’s my whole world. There’s always something to learn in studying architectural works – we can learn from successes or failures, achievements made by leaders in the field or buildings by unknown architects. … and what are your greatest achievements? The MoCAB, of course – because it’s quite strange. This museum’s a wonderful example of modern Serbian architecture. It was very difficult to work on it, 50 years after its construction, and try to determine how it should be for the next 50 years. The MoCAB was a very important achievement in my professional career, so particular and so complex. It was very satisfying to succeed. What were your sources of inspiration for the museum? My inspiration for the design was to recreate the main values that were within the museum in 1965 when it opened – and at the same time to recreate it in a new manner so that it can accept new forms of arts and function with new kinds of expressions of art. I wanted to overlap the old design with new tendencies, to achieve a different and innovative design for the museum, whose look hadn’t changed in 50 years.

Why is light so important in architecture – what is its role? Light is crucial in architecture – it’s always very important to find the truth about the light in architecture. You can’t work with materials without knowing how each works in different types of light – natural or artificial. You need to have an understanding of light and how to design good artificial lighting – and not just take into account the building material. Otherwise, all your hard work will have been for nothing if the lighting isn’t well done. It requires many years of study and work to reach a point where you can imagine that you control the light. What is not yet possible in lighting architecture that you would like to see become a reality in the future? When I picked up the Phillips PerfectBeam projectors, I said “it’s so perfect”, but there’s just one thing that’s missing: a lighting device that can roll along the rail. Nothing else – that’s the only thing: movable light. Related articles MoCAB Belgrade, Serbia Beauty in the spotlight ↩ page 12


Biography Dejan Todorovic Born in 1965, Dejan Todorović graduated from the Faculty of Architecture at the University of Belgrade in 1992. He began his architectural practice in Spain, where he lived and worked from 1993 to 2005. In the period from 1993 to 1999 he worked with several architectural firms in Madrid and in 1999 founded his own architectural practice, Off Project. From 1997-2005, he was a full-time professor at ETSAM AI (Universidad Politecnica de Madrid) and a lecturer on the ephemeral architecture master classes at ETSAM.

Compagny NOOTO architecture and design Kondina 24, Belgrade 11010, Serbia Dejan Todorovich Tel: +381 631 619 515

© Cédric Helsly

Todorović is the designer and co-designer of a large number of built works in different fields of architecture (collective housing, social housing, family houses, public buildings, recycling centres, architecture-themed exhibitions, interiors, temporary structures, art installations), mainly in Madrid and Belgrade.

Upon returning to Belgrade, he founded the architectural design studio NOOTO. He won the Prize in Architecture category of the 35th Architectural Exhibition for the mixed-use building at Bregalnička Street 2 in Belgrade, as well as Grand Prix of the 40th Architecture Salon and the City of Belgrade Award for Architecture and Urban Planning for 2017, for the reconstruction of the Museum of Contemporary Art in Belgrade. He was deputy commissioner in 2016, and commissioner in 2018 for the Republic of Serbia at the Biennale of Architecture in Venice.

Significant projects

© Cédric Helsly

Culture – Reconstruction of MoCAB, Belgrade, Serbia Mixed use – Marina Dorćol Belgrade, Serbia – Bregalnicka street housing and commercial, Belgrade, Serbia Hospitality – Hotel 4* in Višegrad, Bosnia and Hercegovina – Luis de la Mata family house, Madrid, Spain Education – Kindergarten in Pregrevica Street, Belgrade, Serbia Office and retail – Electronic waste recycling plant, Campo Real, Madrid, Spain – Islazul shopping mall, Madrid, Spain Exhibitions – Digital life fairs, Madrid and Barcelona, Spain – Mira Suiza art installation in museums, Madrid Tui, Santiago de Compostela, Spain

© Juan Aroca

Pioneer of Light Antonio Cruz


Architecture as a gift By Chus Rodríguez

With architecture having formed part of his life since the age of 16, Antonio Cruz has worked in many fields on different scales with his practice, Cruz and Ortiz Arquitectos. Its has recently completed the spectacular Wanda Metropolitano, Atlético de Madrid’s football stadium.

Why did you choose architecture? Antonio Cruz: It was very much by chance. There are no architects in my family and I didn’t have much understanding of it. It was the fact that architecture was an activity that combined technical and humanist knowledge that finally attracted me. It fulfilled my expectations and has become part of my life. Was it a way of becoming an artist? I’m not an artist. That type of art seems overrated to me; I would settle for being a better architect. Now everyone wants to be an artist, and I get very tired of hearing it. Do you remember when the door to this world opened? No, I see it as a subtle closeness. I do not remember a significant moment. There were teachers who gave me guidelines, who helped me understand the heart of the activity, and then there were the people who inspired me: Rafael Moneo, Francisco Sáenz de Oiza, Ricardo Aroca … each of these in his own particular field gave me the keys. Is there a thread between your earliest and most recent projects? From the beginning of my career there have been elements of repetition. I recognize and admire my first pieces of work more than the present. They came to me by pure chance or inspiration, and I can see a number of decisions that I made in them that have continued throughout my career. There are complex approaches and problems that we want to resolve in our work without limiting ourselves. Architecture is riddled with difficulties and we want to respond to all of them.

“I’ll settle for being an architect. Now everyone wants to be an artist, and I get very tired of hearing it.” What is the greatest satisfaction that you get from your work? There are many moments of satisfaction, especially solving problems that have been playing on my mind when different challenges do not connect. And then there is the moment of arriving at the architectural form. That’s very satisfying, especially at the end of a piece of work, when a project is well received, and people understand it. And the last thing would be the ‘gift’, when that piece of work gives you something unexpected, something that you had not foreseen and that allows you to see it in a different way, just as the sun sets and light reflects at various unexpected angles. Something unpredictable that is full of beauty. Where do your ideas come from? From everywhere. One is constantly living and absorbing experiences. There is all the architecture by other people, the events of day to day life, personal relationships, cinema, books, etc … everything that comes into your life. I like to see myself as a sponge that absorbs everything.


“I recognize and admire the initial works more than the present. They occurred by chance or inspiration, and in these pieces of you realize that there have been a series of decisions that have continued throughout the career” City or suburb? I’m very much in favour of cities with a mix of different purposes. Not everything is the same, with one thing here and something different over there. That for me is not how to make a city. A city should contain a mixture of functions. I like the buildings to stay where they are. There are buildings that seem to be out of place and are embedded in the city. My studio is 60 meters from the Plaza de Toros de Sevilla (the bullring in Seville, Spain) in an area that is a complete mix of different houses and apartments. And that makes the experience of going to the bullring like passing through a small village. You can’t avoid it. But now, and again, you have to accomplish something on a larger scale, like with the Wanda Metropolitano Stadium in Madrid, where we are talking about fitting 80,000 people into a stadium. And that’s very difficult to organize within a consolidated city. Which of your projects has been the most successful? It depends how they evolve over time, how they are maintained and cared for. Buildings require attention. You can’t leave a building and hope it will look after itself. There must be people in charge of maintaining them. Buildings are not designed to be left without care for 20 years. There are many innovations nowadays and you have to implement them and be dependent on the latest technology.

The Metropolitan Wanda must have been one of the great challenges of your career … It’s a very complex building. We talked and worked closely with the client. We had to show him that we could come up with a solution that satisfied different opinions. We had very good communications with Atlético Madrid and together we discovered many things. When people arrive at the the stadium, they see that it is very well equipped, and that is the result of conversations with people who understand what a competition and a great finale are like. Originally the stadium was intended to be able to host the Olympics, but that is no longer noticeable. It’s a football stadium. Atlético asked us to give more emphasis to spectators and we worked hard to achieve that. What role did light play in the design of the Wanda? The luminaires that are now in the stadium did not exist when we started the design. We have lived through a time in which LED technology has advanced. At the beginning of 2004, LED did not even exist and only came on the market at the end of the year when we presented the original design. Now we have have a powerful lighting tool, that combines output with versatility. It allows us to do anything from simply turning the elements on and off, to controlling the power, intensity and colors. Related articles Metropolitan Wanda A Champions Stadium ↩ page 24


Significant projects Mixed-used – New Rijksmuseum in Amsterdam, The Netherlands – Spanish Pavilion, Hannover 2000 Expo, Germany Sports and leisures – Cartuja Stadium, Seville, Spain – Stadium of the Community of Madrid, Spain Transport – Addition to the SBB Railway Station, Basel, Switzerland – Huelva Bus Station, Huelva, Spain – Santa Justa Railway Station, Seville, Spain Education and culture – Seville’s Public Library, Seville, Spain Residential – Housing building in Doña María Coronel Street, Seville, Spain

© Fernando Alda


Biography Antonio Cruz Antonio Cruz is an architect who qualified from the School of Architecture of Madrid in 1971. He has been a visiting professor at Lausanne and Zurich polytechnics, Harvard, Cornell and Columbia universities in the USA and at the School of Architecture of Pamplona in Spain. He has held the Kenzo Tange Professorship at Harvard, and, since 2004 has been an honorary professor at the University of Seville and occupied the Cátedra Blanca at the School of Architecture. This year he is visiting professor at Technische Universiteit in Delft, The Netherlands, and at Hepia (Haute Ecole du paysage, d’ingenierie et d’architecture) in Geneva, Switzerland. Cruz y Ortiz Arquitectos profile Cruz y Ortiz Arquitectos is one’s of Spanish’s leading architectural practices, founded in 1971 by Antonio Cruz. It has offices in Seville, Madrid and Amsterdam. The practice has recently received many awards, including Honorary Fellowship of the American Institute of Architects, decoration as Ridder of the Orde van de Nederlandse Leeuw, awarded by King William I of The Netherland,s and the Gold Medal for Architecture. Previously, it also was given the International Spanish Architecture Award 2013, the Andalucía Architecture Award 2008, the National Prize of Spanish Architecture, the Prize City of Seville and the Prize City of Madrid.



Beauty in the spotlight By Denise Close, Jean-Luc Wittersheim

© Relja Ivanić

Š CÊdric Helsly

Every museum has its own unique lighting challenges. The Museum of Modern Art in Belgrade (MoCAB) took advantage of an extensive structural makeover to integrate innovative lighting solutions that can satisfy varying artistic requirements and exhibition conditions.



Ground plan of the MoCAB, Belgrade

The Museum of Contemporary Art Belgrade (MoCAB) is in the Novi Beograd district, nestled within the confluence of two great rivers, the Sava and the Danube. It faces the Belgrade fortress on the opposite shore of the Sava in the city’s historic heart. This unusual design is recognized as one of the world’s best examples of museum architecture. A park, with sculptures by leading twentieth century Yugoslav artists, surrounds the building. Six cubes, rotated relative to each other and with octahedral domes – in other words, eight equilateral triangular planes – make up the building. Large bay windows link the museum to its surroundings natural environment. The interior is a single volume,

without walls or corridors, with a central staircase giving access to all five half-levels. Built in 1958, and closed for renovation from 2007 to 2017, the building took advantage of a completely redesigned display, with major lighting design to enhance both the building and the artwork within it. This refurbishment incorporated the most sophisticated contemporary approaches to museum technology while respecting the building’s original design. Horses for courses The renovation set the stage for extensive research into the illumination of the building and its artwork. The lighting had to meet many often-contradictory requirements, including economy in lighting costs,



Cross section of the MoCAB in Serbia

improved display yet preservation of the artworks, and smooth and shadowless light distribution. “It’s always a major feat to properly illuminate a museum,” explained Dejan Todorović, architect for the building renovation. “That’s why, in general, the best references for artificial lighting are found in museums.” Every museum has its own particular lighting requirements: “Differences among museums are huge, because there are so many variables that you could write a book about lighting each one. So it’s impossible to say ‘OK, that’s it’,” said Todorović.


A lighting challenge The MoCAB building’s geometry posed a further challenge. The museum’s five floors vary in height, some with natural light from above and others without – all within a relatively small space. The architect had to resolve a wide range of issues to achieve a satisfactory lighting result and Željko Grubišić, who at the time worked for Kompanija Blagojević, was in charge of finding the best possible technical solutions to achieve the established goals. “It was a huge challenge for me – I’ve never dealt with such extreme challenges in exhibition areas,” Todorović admits.

© Cédric Helsly





© Relja Ivanić



Axonometry of the MoCAB, Belgrade

The specification focused on a contemporary lighting solution with the need for a wide range of light optics, angles and illuminations adapted to varying types of ambience and exposure. LEDs were without question the ideal luminaires because of their energy-efficiency, long life, and low heat emission. In addition, the absence of ultraviolet (UV) and infrared (IR) radiation from LEDs prevents risk of damaging displayed artworks. The specification also called for a 4000 Kelvin color temperature, a color rendering index (CRI) higher than 90 for the exhibition areas, and a remote control system that, among other features, allowed fixture zooming.


Flexible lighting After extensive research, the architect chose Philips StyliD PerfectBeam projectors to illuminate the paintings, whose beams can be angled from 7 to 43 degrees. DALI controllers enable precise adjustment of luminosity intensity, 16 pre-defined lighting atmospheres and individual lamp diagnosis. This technology guarantees tremendous flexibility, maximum ease of light manipulation and the ability to adapt lighting to each painting. Todorović said, “I needed to find the right lighting solution, which works well at three meters high, at seven and a half and at nine at some points. The PerfectBeam is the only one that had perfect criteria to light this museum – combined with cubes of 64 CoreLine panels”.

© Relja Ivanić


© Cédric Helsly


© Cédric Helsly

Optimized conditions Dejan Todorović proposed the zenith lighting concept for the building: using cubes of 64 Philips CoreLine panels connected to DALI controls to regulate lighting levels in tandem with the PerfectBeam projectors. During the day, the museum is mainly lit by natural daylight, while at night the CoreLine panels and PerfectBeams gradually take over. Todorović explained, “Depending on the type of exhibition, or video art, we can control the amount of light within each room, and maintain balanced and optimal zenithal lighting at any time of the day or night, just by using these two types of luminaires.”

Highlight the façade One of the priorities for the exterior lighting was to emphasize the principal parts of the museum’s unusual geometry: the borders, the building’s six cubes and their six glazed domes. The exterior eW Blast Powercore gen4 Philips Color Kinetics luminaires highlight the six cubes’ vertical edges. CoreLine Tempo projectors installed below the six cubes’ glass domes complement this illumination from inside. The entire illumination can be enjoyed from different perspectives – the best view is from the Belgrade Fortress – and highlights the museum architecture’s unique polymorphic crystal forms. Respecting the art Investors were very satisfied with the result. The technical solutions highlight the artworks without risking damage to the paintings.


© Cédric Helsly

The extremely flexible illumination can be customized for each type of work on display and adapted to variations in light. “In addition to energy savings, the investor emphasizes as one of the benefits that the lighting intensity and color have a natural feel, and it’s possible to arrange the lighting of the exhibits without creating a shadow", explains Anita Krivošić, Key Account Manager from Signify (Philips Lighting) for the project. Team effort Constant cooperation among the project’s stakeholders gave the best possible end result. Signify provided technical advice to help architect Dejan Todorović find the best possible lighting concepts for his architectural designs and ideas after


numerous discussions. This teamwork resulted in an innovative museum lighting concept that satisfied the investor’s requirement and worked in harmony with the building’s original design, while providing the ideal environment in which to display the artworks. Good feedback The lighting scheme has been very well received. Dejan Todorović said, “We had generally very good feedback; nobody has any complaints. But I think it’s too early to evaluate it fully because we’ve only had one exhibition so far, consisting of paintings, a few video installations and some sculpture. We will see, over time, how it will work. What I would like to see is how the light functions with different artists’ work.”

Renovation architects NOOTO Dejan Todorović Vladimir Djordjević Sanja Maksimović 3D model Bojana Zrilić Marina Nešić Lighting solutions Kompanija Blagojević

Luminaires Philips StyliD PerfectBeam projector, CoreLine Panel, Tempo and Batten GreenSpace Compact UGR22 TrueLine recessed Moss recessed inox Philips Color Kinetics eW Blast Powercore Philips Ilti Luce Recessed LED linear system indoor Lighting system DALI controlled Websites

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

© Cédric Helsly

Client MoCAB – Museum of Contemporary Art Belgrade MoCAB – Muzej Savremene Umetnosti Beograd



A Champions Stadium

© Enrique Lledó

By Chus Rodríguez

© Pedro Pegenaute

The Wanda Metropolitano Stadium in Madrid, new home to Atlético de Madrid, represents a turning point for sports facilities. It is the first football stadium with 100 percent LED lighting. In 2019 it will host the final of the Champions League, the most important football club competition in the world.

Atlético de Madrid is one of the top football clubs in Spain. A few years ago, there was a successful proposal to leave the historic Vicente Calderón Stadium on the banks of the River Manzanares. After more than five decades, there was an opportunity to create the most modern stadium in Spain, in Europe and possibly the world. This was both an emotional and an architectural challenge, as well as involving strict time constraints. In addition, there was the unprecedented step of committing totally to LED lighting, the first time this had been done in a top-level stadium. The results are spectacular in terms both of performance and the potential for creative lighting.


The outstanding lighting at the Wanda Metropolitano stadium was just one aspect of this challenging job. Cruz y Ortiz Arquitectos won the commission to expand and reconvert a building that was once part of an unsuccessful bid to host the Olympics. The architect was not, therefore, starting from scratch. Instead it had to transform a stadium which, due to its characteristic shape, was nicknamed ‘the comb’, from an original capacity of 19,000 spectators to a place that could host almost 70,000 spectators. This had to be done under the banner of Atlético de Madrid, recent champion of the Spanish league and a two times finalist in the Europa league for the last five years. “There is no sense that this is a transformed Olympic stadium – it feels like a dedicated football stadium,” said Antonio Cruz.

Š Cruz y Ortiz Arquitectos

Š Pedro Pegenaute

Access level plan Wanda Metropolitano Stadium, Madrid

Inherited structure Cruz y Ortiz Arquitectos chose to keep the recognizable image of the ‘comb’ structure and to meld old and new elements into a harmonious whole. This fusion of old and new has secured the future of the Wanda Metropolitano. Concrete not only provides the structural form but also, through its homogeneity, unifies the final appearance.

© Luis Asin

For the fans, the biggest change is in the location of the new stadium, away from the urban bustle and just outside the city center. “These aspects are not decided by the architect,” said Cruz. “The old stadium was just 15 meters away from the nearest building. I am a keen supporter of the city, with its host of different functions. But a building like this, for more than 70,000 people, is too large and complex to create within the grain of a city center."

Near to the action Another important aim of Cruz y Ortiz Arquitectos was to get spectators as close as possible to the pitch, in contrast to the experience of Atlético de Madrid fans at the old Vicente Calderón Stadium. “Atlético de Madrid asked us for greater density and wider stands so that spectators could be very close to the pitch, which was a real challenge to achieve," said Cruz. This closeness to the action is increasingly rare in new football pitches, because of the strict security guidelines laid down by UEFA, the governing body of European football. At the Wanda Metropolitano the designers have managed this while still fulfilling UEFA’s criteria for the highest category of stadium. Despite the ambitions of the stadium, it is also extremely economic, costing less than half of the typical price of stadia of similar standing that are built from scratch. “It’s an achievement,” said Cruz “We have used great economy of means thanks to the project’s engineers who have made maximum use of resources."

© Atlético de Madrid

© Cruz y Ortiz Arquitectos

West cross section of the Wanda Metropolitano Stadium in Madrid

© Juan Aroca

© Enrique Lledó

“Red is the main color used in the stadium, but it can be changed to reflect the corporate colours of any world-class event.” Not just the beautiful game The stadium also excels in areas beyond the stand. The bar, toilet and shop facilities are excellent and there are two underground basement floors that include ample car parking, bringing the total to more than 4,000 parking spaces. Unlike other stadia, at Wanda Metropolitano there is no demand to create a kind of shopping mall. “The pressure has not been very strong because of the isolation from the city,” said Cruz. “Outside the game days, the area is quiet and so it is football that dominates.” The stands have three levels: lower, middle and upper, with boxes placed between them around the edge. The lower level has 28 rows for 23,000 spectators; On the middle level there are 13 VIP box rows and seats for 14,000 fans; the upper level consists of 32 rows for 30,200 spectators. When you include the 1,500 seats in the 94 boxes of the lower level, this brings the total spectator capacity up to around 68.000. .


The roof as a symbol Architecturally the roof is the main feature of the building, linking the original ‘comb’ and the new function across the decades. Providing shelter to almost all the spectators, it is a tensile structure that can play a role in the lighting effects produced by the LED technology, which became feasible during the timescale of production. “We have lived through the birth of LED lighting,” said Cruz. “We were building at the time that the technology was born. It gives enormous scenic possibilities. You can make countless sets of lights and the appearance of the roof cover can be changed decoratively, with great versatility in its lighting.” Red is the main color used in the stadium, as it is the color of Atlético de Madrid but it can be changed to reflect the corporate colors of any world-class event, including concerts or – why not? – at the end of the World Cup.

© Enrique Lledó

Client Atlético de Madrid Contractor FCC Architect Cruz y Ortiz Arquitectos Interior architect Cruz y Ortiz Arquitectos Structural engineering MC2 Typsa Schlaich Bergermann and Partner

Related articles Pioneers of Light Antonio Cruz ↩ page 7 Lighting systems Arenas and stadiums Luminous 18 Ekinox Arena Bourg-en-Bresse, France Luminous 13

Lighting design Signify Cruz y Ortiz Arquitectos Installer FCC Luminaires Philips ArenaVision LED, Clearflood Large, Optiflood LED, Luma, T raze, Vaya Flood Iltiluce Miniflux Lighting control and software Interact Sport scene, lighting and asset management applications Dynalite Envision Manager Pharos TPC Strand Lighting Console Websites


Experiencing light in Virtual Reality By Chris Damkat, Marius Trouwborst, Romain Rouyer


XXX 33

© g-stockstudio

© Romain Rouyer © Romain Rouyer

© Romain Rouyer

Recent advances in LED and lighting control systems have made it possible to optimize and even personalize the lighting conditions for every space or occasion. But to understand the benefits of these new options, it has become critical to evaluate lighting in the right context. This is where the strength of virtual reality (VR) comes in. VR makes it possible to place users inside the environment and showcase the benefits of light in the relevant context.


Š Romain Rouyer

Š Romain Rouyer

As such, VR provides new exciting opportunities for lighting specifiers to evaluate and showcase their lighting designs and ideas. And it gives end users of the space and even consumers new ways to understand and fully embrace the variety of benefits that lighting can offer. When evaluating lighting solutions, it has become increasingly important to first understand the requirements of the environment and the context in which the lighting will be used. Using virtual reality, this is now possible. Once they put on their VR glasses, users can instantly immerse themselves in new spaces and be given

the ability to change the light settings or lighting products by the touch of a button to quickly compare different options. Understanding the potential of this new exciting technology, Signify has embraced its potential in both the consumer and the professional domain. On the consumer side, it uses VR to help customers looking for new lighting for their living room or garden. In the professional domain, it offers VR applications for customers working in retail. It is helping them to understand the benefits and effects of different lighting solutions, and how lighting can help create a variety of retail experiences that cannot be matched online.


© INDG, Signify

“We can show them the effects of dynamic store fronts, of changing the lighting, of different spectra.”


© INDG, Signify

For example, in the retail domain, VR is used in discussions with customers, as explained by Chris Damkat, VR specialist with Signify. It is now possible to show retail customers all the potential effects of lighting, starting from the shop window and then moving inside. ‘We can show them the effects of dynamic store fronts, of changing the lighting, of different spectra,’ he explains. At the Euroshop Trade Fair in Dusseldorf, Germany, Signify allowed visitors to see the effect, for example, of changing beam widths.

Learn more: Philips Fashion lighting VR iOS Android ?

© INDG, Signify

© INDG, Signify

Marius Trouwborst, innovation lead for new marketing technologies at Signify, explained, ‘The basic idea has been around since the ‘50s, but the technology is getting better and better. Now we can model 3D environments and integrate lighting solutions and allow customers to have their own experience inside these virtual rooms.’



© Lukkien, Signify

© Lukkien, Signify

“They can be in a living room. They can be reading, watching television, eating.”

So far, the Hue VR Experience is available in more than 100 stores and reports say that customers love using it.

© Lukkien, Signify

© Lukkien, Signify

© Lukkien, Signify

With the Philips Hue VR app, the approach is slightly different. There the main challenge is that consumers in stores can often only see a few lamps on a shelf, or images on boxes. These give little idea of the effects that can be achieved. For example, it can be difficult for consumers to imagine how the lights will look and feel in a living room, or how light can help them in creating ambience. But using VR, customers can get inside such a space. ‘They can be in a living room,’ said Trouwborst. ‘They can be reading, watching television, eating.’ Light can strengthen these moments, and this is visualized in VR.

Romain Rouyer, a graphic designer who specialises in outdoor applications, explained the development work that is going on in the outdoor field, creating virtual reality versions of different luminaires for use in different environments. ‘In each scene,’ he said, ‘you can compare different types of luminaire and all the options attached to each. Virtual reality makes it possible to demonstrate to clients how the different lighting solutions look and feel in the space. VR is a powerful tool to showcase lighting capabilities and professionals active in the industry should be looking out for current and future developments of this tool.’

Learn more: Philips Meet Hue


Š Mute

Internet of Things and lighting design By Ruth Slavid

Four experts in different fields of light came together to discuss the impact that the Internet of Things will have on lighting and lighting design. They introduce themselves and talk about the issues that most concern them. The independent lighting designer and writer, Alan Tulla, moderated the Pioneers of Light discussion in Amsterdam.


© Mute

“We need to understand what kind of influences IoT will have on the light fixture.” Martin Klaasen

Martin Klaasen: I run Klassen Lighting Design, based out of Singapore with other offices in Shanghai, Jakarta, and Perth. Also, this year I’ve started a company called “Lighting Design of Things – LDoT”. Some time last year I realised that decisions about IoT in relation to lighting and light fixtures were coming from people like smart consultants or IT consultants. As a lighting designer I thought, “Hold on I’m the lighting designer, I’m supposed to be in charge of the lighting effects and lighting ambience and moods”. So I started studying what IoT means. At the beginning of this year I came up with “LDoT” as a service platform. I don’t know where it’s going to go but it’s really interesting. Laura Taylor: I head the design exploration team at Signify. IoT affects our work in two major ways: firstly, lighting design research used to be largely about the behavior of the light and the tasks that people did under that light, but when you connect all kinds of other devices you have to think of the bigger context and all the activities that take place in this space. Secondly, as part of designing the user experience, we design a lot of user interfaces or ingredients for user interfaces and we can implement our design much better; so, when we put an app out there, like the Hue app. We know within a day we will get the first feedback.

Nathanael Meyer: I am head of design at the exhibition design company GSM project, which is based in Montreal with 350 people in Montreal, Dubai and Singapore. I realised that we were already trying to do Internet of Things before it was a buzzword, trying to connect interactive elements in exhibitions to capture the content for specific visitors and also to track data about visitors’ behavior. We need designers who can take all this data and make something which is useful for the visitor experience. Peter Raynham: I’ve been in the lighting industry too long and I’ve been working at a university for a number of years. Now I’m professor of the lit environment at University College London. The Internet of Things is complex because there are several levels we have to address. When teaching students we have to start explaining in terms of a research tool. For example, we’ve just commissioned a large-scale artificial sky which has 810 light sources spread across a dome. I’ve done it with a device which is IoT connectable, which is brilliant because it means that you know when you send a message to something it’s going to get there. It was an eye-opening experience actually commissioning one of these things, and it took a lot longer than planned.


© Mute

“It’s going to be necessary to stay with projects more continuously because it’s going to be about the whole usage over time.” Laura Taylor

Martin Klaasen: The lighting point as we know it today will be totally different in a couple of years’ time. It will be a digital hub in which lighting is probably a small part of what it can do. In order to do lighting design we need to understand what kind of influences this IoT will have on the light fixture. You need to understand what it is that you’re going to do with all those IoT devices and what you intend to do with the data analytics that comes out of it and how that can feed back to your lighting and lighting controls. Laura Taylor: I think it’s going to be necessary to stay with projects more continuously because it’s going to be about the whole usage over time. The level of quality of the scenes will need to go up to respond. Nathanael Meyer: We are designing an exhibition now that’s going to open in 2023. We’re trying to postpone, as far as possible, the specification of infrastructure or fixtures to make sure that when our clients buy the actual stuff they have the latest stuff. More and more I suggest to clients that they spread their budget during the lifecycle of the project, so that each designer working on the project, including lighting designers, can gather all the data from the operation of an exhibition or a building and then still be creative.


Martin Klaasen: Because the lights are all programmable and updatable, there is scope for providing lighting design management after a project is commissioned because there will be a need to upgrade and to adapt to seasons or things that you want to do. There’s definite scope for lighting designers to provide these services after commissioning. Peter Raynham: By definition a building is never going to be optimal and so the more tools that you have available to make the building more useful, the better it’s going to be. Martin Klaasen: This also points to the need for partnerships because as a lighting designer if you’re going to be the facilitator or integrator of all these IoT services and whatever it’s linked to, you need to have partnerships. Nathanael Meyer: We won’t have to be the specialist in how it works but a specialist in mood and feeling. And, as designers, we have to acquire the trust that we are the right people to call on for good content. I think this is the only way to guarantee our position.

© Mute

Peter Raynham

Laura Taylor

Martin Klaasen

Martin Klaasen: One real estate developer said to me, there are only two things that interest me. One is to reduce the cost as much as possible and the second is to improve the human experience as much as possible. Laura Taylor: Look at paint companies. 20 or 30 years ago there were just a few shades you could paint your house and now you have this whole portfolio with lovely words to describe colors. We’ve been doing that with Hue as well; we’ve currently got 30 light scenes in the in the Hue app and we’ve given them names like the “city lights group” and the “relax collection” of scenes to help people because they aren’t used to talking about light.

Nathanael Meyer

Alan Tulla

Learn more: Watch the complete recording of the interview on Signify Lighting Academy channel: Websites


Shopping, light and contrast By Peter Kort, Reinier Den Boer, Judith Wolting-van Hout, Marc Lambooij

As the way that we shop continues to evolve, lighting has an increasingly important role to play in creating an environment that both displays merchandise at its best and provides a mood that chimes with the expectations and desires of shoppers. We explain how to achieve these results. Retail journeys today are dynamic and multi-dimensional. Often, entrance to the store is not through a physical door but via a smartphone! However, shoppers, whether they are online or in a shopping center, still make a journey before any purchasing decision. This shopping journey usually consists of three phases: attraction, engagement and conversion, and is mostly subconscious. So-called impulse buying is a clear example. Emotions play a key role in our decision making and are strongly linked to our identity. Does our identity match the store identity? Are we attracted by the brand and do we identify with it? Is the right experience offered in store? Lighting conditions in fashion shops must attract consumers’ attention and allow them to accurately recognize products (Rea)1. It is the quality of light that will let merchandise stand out and that presents it in an attractive way. At the same time, the experience of the light in a store guides customers and sets the mood. Lighting design and revenue enhancement The evidence of the impact of lighting on shopping behavior is overwhelming but, because other factors also affect our mood, it is hard to quantify the effect of the lighting alone. When lighting is used in the right way it can have a consistently positive effect – on time spent in a store and on mood, resulting in increased revenue for retailers. Working with architects and designers, retailers can use lighting to help achieve their ultimate goal: converting shoppers into loyal brand ambassadors!

Main lighting quality criteria “Lighting quality is not inherent to a space or a lighting design, but to the way the light, or lighting, affects people” (Skanski)2. How we perceive the general light level and contrasts throughout the space depends for sure on the environment, meaning the size of the space, the walls, furniture, and positioning of the luminaires. But equally or maybe even more important is the light output of the selected luminaires being the amount of light and beam shape. Next to these factors we also have the color appearance of the light, which is described by the apparent color of the light (e.g. color temperature and color point) and its ability to render the colors of various objects faithfully and/or preferably. And lastly, people may experience the quality of light differently simply due to natural variations in their visual systems. And it is the complex mix of all these factors above that determine how natural, colorful and appealing specific spaces and its objects will appear. The key is to place human experience at the center of our thinking. We can then evaluate how light will influence in-store experiences and at the same time design and create more effective quality lighting solutions. (1) Mark Stanley Rea, IESNA Lighting handbook, July 2000, page 662 (2) Ranko Skansi, The ergonomics of light, Professional Lighting Design, No. 102 Aug/Sept 2016, page 40


Reflector optics High performance 12° beams for dispersion of light on wide surface areas.

Fashion proof optics The 12° beams have excellent glare control, increased center beam intensity and no spill light (halo) within the store.




Spill light


Lens versus reflector Top row: lenses Fashion proof optics from TrueFashion gen2 Bottom row: reflectors less controlled light on the wall


Accent factor Best quality of light by using Fashion proof optics with lenses for optimizing contrast and create a theatrical experience. Uniform lighting General sales area or shop windows of a store lit with spots with reflector optics provide by nature a more uniform lighting compared to well developed lens optics.

Fashion, color and lighting

Color rendering index 50






140 130

110 100 90

Color gamut index

Color saturation


80 70 60

Color saturation The ability of a light source to render all colors faithfully or accurately is described by the color rendering index (CRI) and to render them preferably by the color gamut index (CGI). The CRI and CGI are linked and a CRI of 100 is almost never preferred since it limits variation in CGI. The sweet spot depends on application, yet for fashion a small drop in CRI (eg CRI of 92) with some oversaturation (CGI of 106) is often preferred for colors (and is exactly where our PremiumColor is positioned).


perfect whites, rich blacks purpose to enhance the appearance of your items. With LED LED flavors for color optimization

attractive to your shoppers.

Standard 930 Maximize energy efficiency

Crisp White Highlight differences between white tones

Standard 930


Maximize energy efficiency


Highlight differences between white tones

Premium Color Heighten the contrast between colors and whites


Heighten the contrast between colors and whites

Premium White Combine white rendering with energy efficiency


Denim Enhance denim colors and washings


Combine Enhance white rendering denim colors with energy and washings Beautiful colors efficiency LED flavors is a dedicated Philips light sources

to render fashion merchandising better. This impacts not only in store experiences but also the attractiveness of the products for sale. Learn more in video:


TrueFashion Compact Length x diameter 135 x 80 mm Beam angles Fashion proof optic lens 12°, 18°, 24° / 30°- 36° (Q2 2019) Source LED System lumen package 2700 lm System power 26 to 32 W Dimming DALI, Interact Retail Color rendering index > 90 Color temperature PremiumWhite 3000 K, 3500 K, 4000 K Denim PremiumColor 3000 K, 3500 K (planned) e-catalogue


TrueFashion mini Length x diameter 135 x 65 mm Beam angles Fashion proof optic lens 18°, 30° Source LED System lumen package 2000 lm System power 22 to 24 W Dimming DALI, Interact Retail Color rendering index > 90 Color temperature PremiumWhite 3000 K, 3500 K, 4000 K Denim PremiumColor 3000K, 3500K (planned) e-catalogue

TrueFashion Highlight / EasyAim Length x diameter 174 x 100 mm Beam angles Fashion proof optic lens 6°, 8°, 10°, 12° Source LED Center beam intensity Up to 64 kcd, extra narrow beam System power 18 W Dimming DALI, Interact Retail Mobile app aiming EasyAim Color rendering index > 90 Color temperature PremiumWhite 3000 K e-catalogue


© Alan Carville

Lighting Workshop in Malta

Lighting workshops By Ruth Slavid


Lighting up our heritage workshop Location Saint-Paul Cathedral, Mdina, Malta Lighting designer Franck Franjou Organizers Signify Lighting Academy Jaap Schuuring Brighter Solutions Oliver Pace Guests Lighting Designers, Architects and Engineers University of Malta Malta College of Arts Science and Technology (MCAST) When 2-5 May, 2018

© Alan Carville


There can be few more exciting and valuable ways of engaging with lighting than to go to one of the lighting workshops that Signify supports around the world. Not only do these have accomplished speakers; they also give attendees the opportunity to handle lighting equipment and to do some real lighting of real buildings.

Technology (MCAST) Pace explained that he met Jaap Schuuring, manager of the Signify Lighting Academy at an architectural workshop in Lyon. ‘I wanted to share this experience here on Malta ,’ he said. In particular, since Malta has so many heritage buildings, it made sense to focus on that sector.

Two of the most recent were in Malta and Thailand, both dealing with the lighting of heritage buildings. In Malta, the Signify Lighting Academy supported a workshop that was organised by Oliver Pace, director of Brighter Solutions, Signify’s trusted partner in Malta. It was run in collaboration with two universities. The Malta University and the Malta College of Arts, Science and

The workshop took place in the city of Mdina over three days. As a final part, the participants provided outdoor lighting for the city’s beautiful bastion. Pace explained that the workshop consisted of several elements. There was the opportunity to get hands-on with products – largely from the Color Kinetics range – and to use a lot of equipment and controls. The climax came

with the lighting exercise, but before that there were inspiring talks. French lighting designer Franck Franjou, who works extensively in Malta, provided inspiration. ‘My approach was more creative than technical,’ he said. ‘In particular I talked about the importance of the night, and about how we can work with a very low level of light.’ Some of the attendees, who came from as far afield as Poland and Romania, were, he felt, very creative. ‘It’s important to have good ideas, to have a feeling for the site, even if you are not a lighting designer,’ he said.


© Alan Carville

© Weeraphon Aotharnsakun

Lighting Workshop in Thailand

‘They were surprised that even in the past, lighting design was there – even with candles there were designers.’ He helped them to think about the changing role of the lighting designer which he compared, today, to being rather like an art director of photography. On the final day, Brighter Solutions invited a large group of influencers and decision makers to see and experience the projects the students had been working on in Mdina. This was an opportunity to show them what light can do, beyond mere illumination, and also to provide new contacts for the


students. “We care about the future of the lighting design profession and have a responsibility to educate the next generation” Schuuring said.

and compare what they imagined and what they got in reality. They learned, gained experience and shared ideas with each other.’

In Thailand, a similar workshop was held in Ayutthaya, the ancient capital. The 35 participants, from lighting design firms and academic institutes, had the opportunity to light up a series of temples, using PCK IntelliHue and the UNI range of outdoor luminaires with RGBW. Weeraphon Aotharnsakun, the manager of Signify Lighting Academy in Thailand, said, ‘The attendees had the chance to play with light

In both continents, the organisers would welcome the opportunity to hold more, similar workshops – a ringing endorsement.

Š Weeraphon Aotharnsakun

Architectural lighting institute workshop Location Ayutthaya Historical Park, Thailand UNESCO World Heritage Site Organizers Signify Thailand Weeraphon Aotharnsakun Guests Thai lighting designers from 12 compagnies in Thailand When 18-20 May 2018


Discover the Pioneers of Light hub for architects, lighting designers and engineers Ground-breaking lighting projects, events, training and tools to help transform your projects and designs.

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

Š Gilles Framinet

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