InternationalLightingMagazine 2011/7 May

Customised solutions
Bianca Tresoldi
Creativity needs rules

The language of lighting design Frits Philips Concert Building

A feast for the senses

2 EDITORIAL

This issue of Luminous includes a project that is particularly dear to our hearts atPhilips. Just 18 years old, the Frits Philips concert building in Eindhoven has built up a tremendous reputation for its music, but was let down by its ambience orrather lack of it. Central to a radical overhaul was the work of Philips Ambient Experience team which managed, in just 17 weeks, to create an entirely different and more welcoming feeling for the building. This is an indication of just how rapidly the technology of lighting is changing, as are peoples expectations, and the way that different disciplines can work together. The Richard Kelly symposium (page 14) shows how much the field has developed since his pioneering work, and demonstrates the value of discussion between people at the top of the profession. Our feature on lighting culture in Spain (page 46) focuses on a group of individuals who came together to share knowledge and promote the value and excitement of good lighting design. Equally important are the partnerships between Philips, architects, product designers and client groups. Whether they are aimed at a specific project as attheFranois Mitterand library in Paris (page 22), or lead to the development of a new streetlight (page 30), they enable all parties to work together to produce meaningful innovation that enhances life for our customers and for people ingeneral. Learning comes through sharing experience, and we are delighted to share with you the thoughts of Bianca Tresoldi (page 10) one of Italys leading lighting designers. Even more exciting is the two-way conversation that can take place virtually. Our feature Light Talk provides a taster of the conversations between young designers on our website. This time we focus on whether lighting should portray reality or fantasy (page 20 ). I hope this stimulates you to go online and join the discussions. Such enlightened conversations help us all in our quest to develop meaningful lighting solutions for people. Rudy Provoost CEO Philips Lighting

colophon
published by | Philips Lighting BV Mathildelaan 1, Eindhoven 5611BD, The Netherlands www.lighting.philips.com editor in chief | Vincent Laganier managing editor | Paulina Dudkiewicz editorial department | Augustina del Bao steering committee | Nils Hansen, Fernand Pereira, Matthew Cobham copywriting & editing | Ruth Slavid translations | Lion Bridge graphic design concept | MediaPartners dtp | Relate4u printing | Print Competence Center moreinfo | luminous@philips.com ISSN nr | 1876-2972 12 NC | 3222 635 68811 Cover | Frits Philips Concert Building, Eindhoven, The Netherlands LightingDesign | Pelle Herfst

CONTENT 3 COVER STORY

A FEAST FOR THE SENSES

Frits Philips Concert Building, the Netherlands

Dialogue
Creativity needs rules
Top designer Bianca Tresoldi talks about her life in lighting

10 14 20

THE LANGUAGE OF LIGHTING DESIGN

Debate with international lighting designers

EYES WIDE CLOSED?

Does light show or create the reality?

DOSSIER
LED versus Fibre Optic
Bibliothque Franois Mitterrand, France

22

BRAINS ABOVE THE MOTORWAY 26

High Tech Campus Bridge, The Netherlands

Plato lights the streets

Germany

30

FEEDBACK
LIGHTS IN ALINGSS
PLDC workshop

34 38 40 42 46

Modelling with Light

How to light a sculpture

OUTDOOR ATMOSPHERES
OLAC Road with LEDs

OPEN DIALOGUE ON RETAIL FASHION

22

30

How will shopping look in a few years?

SPANISH LIGHTING DESIGN CULTURE

Enhancing visual, emotional and comfort aspects

SNAPSHOT
A quick look at six projects from around the globe

52 54 55

SPOTLIGHT

26

Books

WHERE TO GO
International lighting events

Frits Philips Concert Building, Eindhoven, The Netherlands

A feast
By Joost Rekers

for the senses

Visitors are enjoying an exciting and surprising new ambience at FritsPhilips Concert Building (Muziekgebouw FritsPhilips) as the result of an ambitious makeover. And it was all done within 17weeks.

 Frank Tielemans

6 LIGHT SOURCE
During its relatively short lifetime - barely eighteen years - the Frits Philips Concert Building has built up a national and international reputation thanks to excellent programming and highly praised acoustics. Were tremendously proud of that, says Anastasia Rox, quality manager at the concert hall. But it did seem as if at the same time we were really doing our best to conceal that pride. The buildings ambience - the entrance area, the bars and the foyers no longer matched the quality one would expect in a meeting place of this kind. Ourconclusion was that the content was assolid as a rock, but now the rock itself had to be dealt with. The city of Eindhoven and its region now project a profile that is very strong internationally in the field of design and technology. So the region also deserves to have a building with big city allure: a building that unmistakably says music. total solutions and consists of the account manager, a project manager and a sales engineer. The project manager is a member of the construction team and liaises with the other parties. He is in close contact with the sales engineer, who is responsible for coordination in the technical area.

Speed and flexibility

Client Anestaas Rox Art direction Menno Dieperink Philips Design Interior designers Van Eijk & Van der Lubbe Geldrop, The Netherlands Visual, light, and sound advice Eric Simon Thomas, Hypsos Soesterberg, The Netherlands Lighting design Pelle Herfst, Rapenburg Plaza Amsterdam, The Netherlands Graphic identity Gerard Hadders Schiedam, The Netherlands Lighting solutions Saskia van der Wolf Lighting application specialist Philips Netherlands Turnkey projects Bas van den Noort Philips Benelux Light sources Philips LUXEON LED, Warm White RGB Multi-dye LED Luminaires Mediawall and M Signage Philips iColor Flex MX, RGB Suspended ceiling panels Philips Benelux, custom-made LED module, RGB Downlights in ceiling above bars Ilti Luce Pix-T, 12W; Lux 17, 3W; Lux 03, 1W Lighting behind the bars Philips LEDline, RGB; Luxspace mini, 3000K, 25W

Defining the experience

The specification gave a very detailed description, with a great deal of attention being given to the audiovisual part, remembers Bas van den Noort, sales engineer at Philips TP&S. One thing was clear to us right away: speed and flexibility were crucial. The renovation work had to be carried out between 1stMay, immediately after the last concert of the season, and 8thOctober, before the new season started. Exactly 17weeks. The atmosphere in the construction team was excellent and everybody collaborated well to meet the tightdeadline.

Philips Ambient Experience design team - which specialises in spatial experience was appointed to map out the wishes and requirements for refurbishment. MennoDieperink, creative director for interiors, started by analysing how visitors experienced the concert hall, to get an insight into the quality of visitor experience. Did it measure up to expectations? What was the initial impression? How did visitors experience the spaces? These findings led to a concrete recommendation for redesigning theconcert hall as a meeting place, summarised in ten key terms. Examples are Enjoying a break rather than just hanging around and Facilitating social interaction. The key term Clarity and intuitive orientation shows that a building only works well if visitors can find their way around intuitively, rendering signssuperfluous.

House crockery

Design, technology and light

The redesign was based on an integrated concept in which design, technology and lightconverge. Experts with expertise in the various fields were appointed to give shape tothe new identity. In this way the frameworks were also created for the spectacular and complex lighting concept in which sustainable LED solutions predominate. Inorder to eliminate asfaras possible any time-consuming and therefore expensive surprises during the renovation work, lighting designer PelleHerfst of Rapenburg Plaza provided, in the specification, a detailed description of all the wishes and requirements that the light sources had to comply with. Once the contract for the lighting solutions had been awarded to Philips Lighting, Philips Turnkey Projects & Services (TP&S) came on board. This projectmanagement team is the point of contact for

The respected design duo of Van Eijk & Vander Lubbe, of Geldrop, Netherlands, was approached to develop the recommendation for the redesign. The two were appointed to design both the interior and the exterior. The concert hall did not exude any musical feel, says Niels van Eijk. We tried to recreate that feel. What happens in the concert hall is now also tangible in the building. Themost striking thing is the prominent new entrance area, with a spectacular glass facade measuring 20metres wide by 13metres high, with a single central entrance. Thecloakroom was given a new function as the City Foyer, where people can go not only for a bite to eat and a drink, but also - thanks to a harmoniously integrated music shop - tolisten to and buy music. An interplay of light, image and specially developed technology then accompanies the visitor from the entrance area to the concert hall. Tomake the experience as tangible as possible, absolutely everything was examined and dealt with down to the smallest detail. From the multifunctional seats and tables to the house crockery, every element is customised and designed especially for theconcert hall.

Different every time

The new concert hall is full of the latest technologies. But as a visitor you dont notice much of it, says Eric Simon Thomas, creative multimedia engineer at Hypsos, an international firm for (3D) design and construction, and responsible for the management and control of the lighting and other solutions. So an evening at the concert hall is a succession of visual moments. Forinstance, the enormous living wall in the bar of the City Foyer, on which not only concert announcements but also artistic

LIGHT SOURCE 7

Top: View from the shopping gallery of the new building entrance with its 13-metre-high glass facade. Gerard Hadders designed the letter Ms using LED back lighting. Bottom: Seats and tables are designed by Van Eijk & Van der Lubbe.

Frank Tielemans

8 LIGHT SOURCE

The dynamically lit ceiling will help visitors to find their way
expressions can be displayed, strikes you at once. This ambient wall consists of three visual layers. Behind the white wall, 36,000Philips LEDs are fitted in two grids: spots and floods. Combining these with sixinvisibly fitted projectors at the front, which together form asingle wide-screen projector, creates a wealth of visual options. wall, this dynamically lit ceiling will help visitors to find their way to the concert halls. In this way it supports the signs projected onto the walls, rendering ugly conventional signs superfluous. To improve visibility on the staircases, custom-made LED lighting was fitted in all the balustrades - also invisibly. In the Amvest foyer on the first floor, the long couches contain a surprise. The buttons of the buttoned backs light up when visitors sit down, reinforcing the interaction between visitors and the building in a playful manner.

Interactive experience

The staggered ceiling panels also give the ceiling the feel of a grid. A custom-made Philips LED module behind each suspended ceiling panel indirectly illuminates the ceiling. Although the specification assumed that ceiling panels would be controlled in groups of three, TP&S managed to control each ceiling panel individually. This makes it possible to create unique atmospheres using the ceiling - for example by means of wave motions. The idea is that, as with the ambient

Attractive beacon

A great evening out in the Concert Hall no longer starts with the concert itself, nor even in the entrance area, but earlier, as you arrive from the Market Square. This is what graphic designer and visual artist Gerard Hadders, also co-founder of the well-known designers collective Hard Werken in Rotterdam, says.

Each level has a chequered ceiling that is custom made with LED modules. Itgives a feeling of lightness and makes the space feel bigger.

Some of the fittings echo the ambience of a traditional concert building, but in a contemporary manner.

Frank Tielemans

LIGHT SOURCE 9

Hadders designed a family of nine different letter Ms, five of which mark the building. Thanks to the flexible wire system used in the LED solution, these very differently designed letters can - depending on the concert or message - vary in colour and content. Theproduction of these eye-catchers, with their high-gloss stainless-steel housing, was entirely arranged by TP&S. They turn the concert hall into an attractive beacon from aconsiderable distance. Bas van den Noort says All the partners involved in the construction process collaborated excellently with us and this can be seen in the result. Wim Vringer, director of the concert hall, agrees. We already had ahigh-quality concert programme, but now we also have a building that radiates a musical feel, he says. Literally in fact, because without Philips splendid lighting solutions this wouldnt have been possible.

Section including LED units

The buttons of the buttoned backs light up when visitors sit down. This reinforces the interaction between visitors and the building in a playful manner.

Top view with light dots

Elevation of the 14,50meters long couches

10 PLATFORM
Bianca Tresoldi, Lighting Designer, Studio Bianca Tresoldi Lighting Designer, Milan, Italy

Creativity needsrules
By Sara Pascucci

A member of the AIDI (Italian Lighting Association) and the PLDA (Professional Lighting Designers Association), Bianca Tresoldi has been a consultant to two major Italian lighting companies and was a partner in the Milan-based Consuline Studio before setting up her own studio. She speaks here to Luminous about her life in lighting.

How did your career in lighting design start?

I would say almost by chance. During my course in interior architecture, I was assigned a project which involved renovating a building by extending it, using it as a library and lighting it. Itwas in the1980s, and while many extraordinary designer lamps existed, there was still no talk about light effects, and there certainly werent the publications available that there are today. To tackle theproject, Iwent to a lighting shop, where I spent entire afternoons experimenting with effects and playing with light. This, perhaps, waswhere my passion for lighting was born. I made my entry into the sector just a couple of years later, when Istarted working as a designer for a lighting company. This marked the beginning of my career in lighting, and I have never looked back.

When did you open your own lighting design agency?

At the turn of the millennium, my desire to challenge myself and rethink my approach was stronger than ever, so in the year 2000 I finally decided to go my own way and open my own studio: Bianca Tresoldi Lighting Designer.

What do you mean when you say light is the punctuation of a fundamental part of the vocabulary of architecture?

What was your experience like at the Consuline Studio, and what did you learn from it?

In the 1990s, people started to talk about a lighting culture and a European association of lighting designers was set up (now the PLDA). After working as a consultant for Sames and Targetti, it was only natural that my next step was to become a member of the Consuline Studio. It was an important ten years for me, tiring certainly, but also very engaging, rewarding and stimulating. I had the opportunity to be a part of various projects and work with individual people, and learnt so much thanks to that old saying, many hands make light work.

Is there anyone who isnt in love with light? I still get emotional when I see the ways in which light is able to pass around us - when natural light enters and remains in a building, it becomes true poetry in motion, one of the fundamental aspects of our spaces, as though it were the punctuation of a sentence, vital for placing emphasis on our thoughts. Artificial light, designed by myself and my fellow lighting designers, is less poetic than natural light, as there is a risk of losing the very essence of the setting. For this reason we must know how to ration it, so there is never too much.

What do you think about made-to-measure product design in lighting?

Nowadays, there are lighting devices on the market to meet every requirement. At long last, we designers have a vast array of equipment at our fingertips with which to carry out our projects. However, madeto-measure is something different.

PLATFORM 11

Bianca Tresoldi with the incandescent lamp.

12 PLATFORM

Like cooking a good risotto you need a list of ingredients

From an architectural perspective, there are places in which massproduced products just do not fit. They may produce the desired light effects perfectly, but aesthetically they do not blend with their surroundings. Designers have therefore rethought how lighting devices can be contained. In this sense, a special product is like a madeto-measure suit for a defined space, using the technologies that are commercially available. where people can gather in an environment that is pleasantly lit by unobtrusive light sources, where vertical planes are predominant, and where countless shades of light give the surroundings true visual depth. But above all else, places that give every city in the world, when the sun goes down and artificial light rises in its place, its own unique flavour and allure.

What have you learnt from the lighting project you carried out at the Chiesa San Pietro Apostolo inBergamo?

Where do you see yourself in ten years time?

The project made me realize just how crucial the discussions between everyone involved in a project can be, and how important it is to always be ready to revise your own ideas. My first chandelier project was in fact rejected by the Sovrintendenza - the regional board of the Italian Ministry of Cultural Heritage - but I must now thank the inspector. He gave me the opportunity to analyse my ideas and work things out in a different way, and eventually to come up with a project that was certainly more in tune with thesurroundings.

Thats a difficult question! I think Ill still be a lighting designer - I would like to think, though, that by then my profession will be recognized in an official context, just as architecture and engineering are today.

Whats your greatest passion besides lightingdesign?

I have many - I like modern art, going to exhibitions and sailing. I also love cooking with what Ive grown myself - I have a small vegetable garden and enjoy trying out new things in it.

What inspires you when youre designing?

What do you think the future holds for urbanlighting?

Urban lifestyles have changed dramatically, and we must adapt our towns and cities accordingly. Not only must urban traffic be taken into account, but also the people who live there. I hope that in the future Ill be living in a city with piazzi-salotti, squares that feel like your own living room, places

Creativity does not mean improvisation - a solid planning method is the keystone of creative ability. You need rules; not to inhibit you, but rather to encourage you to make new discoveries. Once you have performed all the necessary analysis and made all the necessary considerations, then maybe the idea will come to you while youre looking at a painting or sailing. In order to devise a beautiful chandelier, much like cooking a good risotto, you need a list of ingredients, which are dictated by your own experience and interspersed with your own personality, sensibilities and culture.

Website: www.tresoldilight.com

PLATFORM 13

Clock tower of Santo Stefano, Casale Monferrato, Italy. Lighting design: Bianca Tresoldi

Daniela Crivelli

The language
of lighting design

Roland Halbe

Taking care of lighting details at the smallest-scale, a subminiature fluorescent luminaire is incorporated in the handrail of this window seat, in a members office at the Scottish Parliament in Edinburgh, UK. Lighting Design: Office for Visual Interaction

PERCEPTIONS 15

By Margaret Maile Petty

From 23August until 2October 2010, the successful Richard Kelly exhibition and symposium held at the Yale Architecture School in NewHaven, US drew attention to the many contri butions of this pioneering designer. Luminous opens the debate with five international lighting designers on the role and relevance of Kellys vocabulary today.

All languages expand and mature over time. As a cultures needs and concerns shift, so do its words - both in meaning and use. This principle holds true for the language of lighting design as well. For many the modern language of architectural lighting design was first articulated in the early 1950s by American lighting designer Richard Kelly (1910-1977). Over the last half-century his vocabulary has provided the principal building blocks for lighting design. From the lightwashed walls of Renzo Pianos New York Times Building lobby to the luminous white volumes of SANAAs New Museum in New York City to the elegant sparkle of Speirs + Majors LED screen wrapping Armani Fifth Avenue, Kellys language lives on. Demonstrating a keen knowledge of light, Kellys substantial project list includes numerous masterworks of modern architecture. His many innovative and successful lighting solutions reveal his understanding of light as a primary formgiver able to shape our experience of the built environment. Given its critical role, Kelly rightfully argued that light needed to be approached on its own terms. In 1952 he introduced a vocabulary for modern lighting design comprising three principal light conditions that he believed essential to the composition of any visual scene: focal glow (focused/direct light), ambient luminescence (indirect, diffused light) and play of brilliants (patterned light orsparkle). Referencing commonly recognized visual scenes, Kelly drafted an easily understood vocabulary for lighting design. With colourful analogies, he visualised each type of light and their potential interactions. Focal glow Kelly likened to the pool of light at your favorite reading chair and the shaft of sunshine

that warms the end of the valley. Ambient luminescence he described as the twilight haze on a wide river where shore and water and sky are indistinguishable as well as what one might find in any art gallery with striplighted walls, translucent ceiling, and white floor. Play of brilliants he compared to Times Square at night and sunlight on a fountain or a rippling brook. In addition to describing their basic visual characteristics, Kelly outlined the impact of these principal light conditions on our perception. Focal glow, for example, draws attention, pulls together diverse parts separates the important from

the unimportant. Ambient luminescence minimizes the importance of all things and people. It can suggest freedom of space and can suggest infinity it quiets the nerves and is restful. Play of brilliants excites the optic nerves, and in turn stimulates the body and spirit, quickens the appetite, awakens curiosity, sharpens the wit. In summary, hestressed: visual beauty is perceived by aninterplay of all three kinds of light. In naming and describing these three expressions of light, Richard Kelly mapped out a basic vocabulary for lighting design. However, in the fifty-plus years since Kelly presented his typology for lighting design, there has been relatively little effort made within the lighting community to consciously expand or challenge this basic schema. While the universality of Kellys vocabulary guarantees its continued viability, some designers and lighting consultants today are suggesting new ways of thinking and talking about light and its role in the builtenvironment. Mark Major, director of Speirs + Major, the award-winning and internationally distinguished design consultancy, has contributed significantly to the continued development of a language for lighting design - both in his practice and with the 2005 book, Made of Light: the Art of Light and Architecture published by Birkhuser. Inresponse to the question of the applicability of Kellys vocabulary today, Major agrees that Kellys philosophy still has a vital role to play, particularly as a reminder that lighting design is not just about numbers, codes and tools. It is critical that designers today consider all the possibilities when it comes to the look of the space including the subjective and aesthetic, for which Kellys

Lighting within the window seats creates a play of light and shadow on the facade of the Members of Scottish Parliament Building. Lighting Design: Office for Visual Interaction

Ralph Richter

16 PERCEPTIONS

approach is well suited, says Major. However, he suggests that Kellys vocabulary falls short in consideration of the wider range of social and operational needs central to good practice today. To build a more accommodating and resilient vocabulary able to meet contemporary design challenges, Major returns to the Vitruvian maxims firmitatis (firmness), utilitatis (commodity) and venustatis (delight). This classic triumvirate, says Major (looking back to lessons he learnt as an architecture student), represents the philosophy that a good building carefully balances aesthetic demands with the need to be robust and useful. This principle holds true for each and every part of that building - including the manner in which it is lit, says Major. To be useful today, lighting must respond to a diversity of needs, including providing

legibility and accessibility, creating a sense of safety and security, and contributing to peoples well-being, as well as creating identity and character after dark. In order to ensure that a design is also robust says Major, it is paramount that any lighting solution be environmentally sound - carefully balancing aesthetic and operational needs with the requirement to minimise energy use, waste and adverse impacts on bio-diversity. However, robust systems are not necessarily driven by the latest technological advances. Cautioning designers facing todays array of state-of-the-art technologies, Major suggests keeping an open mind and not letting the (technology) tail wag the (schematic) dog is the best way forward. A perfect example of the synthesis of these aspects - usefulness, robustness, and meaning - is Speirs + Majors award-winning

lighting solution for the Infinity Footbridge in Stockton-on-Tees, UK. Using the naturally reflective properties of the river, Speirs + Major designed the lighting in such a way that it forms the symbol for infinity when reflected in the waters surface - providing a memorable and iconic nocturnal identity for the project. The lighting of the footbridge also provides pedestrians with a high level of legibility without sacrificing the natural darkness of the night-time environment. Low-energy, long-life LED units were used in the project to realize both the aesthetic and environmental aims of the project. Jean Sundin and Enrique Peiniger, founders and principals of the pioneering New Yorkbased lighting design consultancy Office for Visual Interaction (OVI), have made critical additions to the development of a contemporary vocabulary for lighting

Interactive pedestrian lighting, Infinity Footbridge, Stockton-on-Tees, UK. Concept architect: Stephen Spence. Lighting design: Speirs + Major.

James Newton

PERCEPTIONS 17

To be useful today lighting must respond to a diversity of needs

design. In a recent forum held at the Yale Architecture School, Sundin and Peiniger called attention to the significant shifts witnessed in architectural design over the last half-century. We need new terms to stay current with architecture and technology, said Peiniger. It is time to expand on Kellys vocabulary. The duo also identified the concepts of transparency, depth of space, gradation of illumination, and defined shadows as essential to architectural lighting design today. Sundin and Peiniger explain that terms such as transparency and depth of space highlight areas where lighting design can support the kinds of spatial concepts that todays architects are seeking to achieve. Gradation of illumination and defined shadows are fundamental tools for delivering the nuanced aesthetic that characterizes world-class projects today, they add. Its good to remind ourselves that although were lighting designers, its not the right thing to illuminate everything. Shadow is a very necessary space defining element, Sundin remarks. Its just as important to use darkness and shadow as it is to use light. In order to capture the need for a multi-level focus and express the greater range of scales with which a lighting designer may be asked to work today, OVI has developed the simple, but highly flexible shorthand Lighting Powers of 10 (referencing the Eames groundbreaking film). Providing a systematic ordering of the process of architectural lighting design and its relationship to architecture, OVIs Lighting Powers of 10 encapsulates a way of thinking about lighting that moves from the largest environmental level to the smallest details. This approach considers scales that range from the urban master plan, to the city block, to building surfaces, interior materials and finishes - and even down to the smallest details including manipulating spectral wavelengths of light, says Sundin. The firms sophisticated lighting for the Scottish Parliament complex in Edinburgh, Scotland illustrates lighting that functions on just such an expansive range of scales. On a site-plan level, lighting works to unite the individual buildings of the complex into a visually coherent master plan. An intimate, village-like atmosphere is achieved by accentuating the light that individual buildings emit from within, and calibrating the overall balance of brightness and contrast. To this end, the windows and skylights of each building are articulated with nocturnal lighting effects and silhouettes in mind. For instance, in the window seats provided in offices for the Members of Parliament, tinycustom-designed luminaires are

At the Scottish Parliament complex, Edinburgh, UK, lighting acts as a orientation tool, helping visitors to navigate at night.

Roland Halbe

18 PERCEPTIONS

There are many new challenges facing the lighting community today
integrated seamlessly within a handrail. This provides a balanced play of light and shadow, as seen from the outside at night in relation to adjacent buildings, as well as a burst of illumination inside - concentrated precisely at reading height. According to Sundin and Peiniger, This kind of design requires thinking at many scales simultaneously, and considering the role of lighting in new ways. Lighting has become a critical element that helps us to read architecture and tell itsstory. A comprehensive outlook and extended lighting vocabulary are key in responding to the magnitude of scope and complexity of todays architecture. Light Collective, the UK-based next generation lighting consultancy founded by Martin Lupton and Sharon Stammers, approaches Kellys vocabulary as a provocation - one which may help us better identify what is missing from the contemporary language of light. Agreeing that Kellys three qualities of light effects would suitably form the basis of a design, Light Collective argues that today lighting design must equip itself further in order to address a host of new concerns. In particular they see great value in articulating the non-visual benefits of light recognizing that these are even more difficult to describe and qualify than the visual benefits. A contemporary vocabulary of lighting design should include the biological effects of light, the social value of light, and importantly, a critical vocabulary... as there is with architecture and art, according to Lupton and Stammers. They suggest that much is lost when we emphasize only the good in lighting design, and that this ultimately holds the discipline back. For the benefit of the profession and to enable communication between professionals and nonprofessionals it is necessary to have a way of communicating as clearly about what is not good - glare from an exposed source or badly aimed spots, spill light flying aimlessly into the sky, or poor colour rendering sucking the life out of objects. With the rapid evolution and infiltration of lighting technologies and light-based media throughout the built environment, Light Collective sees an increasing mash up of light and surface, light and information, light and video - effects which are often applied as an added layer within a building or upon a building skin. A language for addressing such hybrid forms of light is simply absent from Kellys vocabulary, which doesnt allow for light as an information giver, Lupton says. The growing role of media screens, responsive surfaces, and more dynamic uses

Simulation drawing of the NIX concept designed by realities:united. It is researching the artistic potential of synchronised lighting systems in high-rise buildings.

realities: united licensed under CreativeCommons 3.0: BY-NC-ND

PERCEPTIONS 19

of light within the built environment forms avital part of lighting design today. The innovative Berlin-based design consultancy realities:united, founded by Jan and Tim Edler, explores this nexus of new media, information technologies and architecture. Their projects frequently exploit architectures outward communicative capacity, as for example with the NIX concept, originally conceived for the 45-storey European Central Bank project in Frankfurt am Main, Germany (2007) designed by Coop Himmelb(l)au. The NIX (nothing) concept harnesses the latent potential of the general lighting systems of a building in order to coordinate and orchestrate this existing technical system into an aesthetic instrument. Using a central control system, the building senses when workers have left the building and activates a secondary

network. It orchestrates a unified lighting display or luminous response through the existing lighting systems. Explaining the theory behind the NIX project, Tim Edler says, Light has a communicative capacity... that explains what we can see at a large scale, for example on very large buildings. Technology used to be pretty stupid. Lights were turned off or on. Now it is being connected to create intelligence. Witty and innovative, NIX offers a cost-efficient strategy for turning large-scale buildings into megasigns, transforming an under-utilized technical infrastructure into a transmitter of artistic expression. NIX illustrates the value of a buildings technical infrastructure as a means for both communicating and reinforcing the architectural concept. As these leading individuals within the lighting community have suggested, there are many new challenges facing the discipline today;

challenges that require greater self-reflection and criticism as well as a finer-grained vocabulary than that set out by Richard Kelly in the early 1950s. The notion of intelligent architecture, recognition of the need for darkness and shadow, increasing our knowledge of the biological effects of lighting on humans, animals and the living environment, and the urgent need to find more holistically sustainable lighting solutions certainly were not part of Kellys theory. However, he recognized the need for adaptability and continual reassessment within the young discipline. As he wrote in 1958, Im sure the best we can do today will be inadequate tomorrow. I can logically project a great many techniques in lighting to improve peoples lives or to make a house more beautiful, but its all theory until we have the record of experience, which we are only beginning to write.

Lighting provides an atmosphere of transparency by enhancing depth of space in the lobby of The New York Times Building, New York, USA. Lighting Design: Office for Visual Interaction

Michel Denanc

20 LIGHTTALK
Light Talk is a column that brings to readers some of the most interesting conversations that are taking place between young designers in the field of lighting. These conversations, published in an entirely unmoderated form, originally took place on our social media platform Light Community (http://community.lighting.philips.com). It is an excellent place for those interested in lighting to discuss topics, unhindered by geographical distance and without the need to defend or justify their arguments to clients or employers.

make or does it at is there h it w ld e u se o you to ht? Sh role of lig s it make e e o th D e ? se ty ou reali How do y eates the to look at? ows or cr u sh o t y h d g li te s n Doe space? e signer wa den in th adapt the e what de r shall it uld be hid o o you to se w ts t is a x e th spaces t already ets. showing show wha areas, stre y simply b y a d sidential r u re o t s, z n ic se te u w x o e t can pical h Dudkie spaces. hand ligh look at ty Paulina_ letely new nough to n the one ce p e n O m si is co s It st . te o e a 2p ww.bbc. or cre therwis n modify e (http://w 0 arkness o v ca 1 d o 0 It 2 m . , r ty 8 o li l r Ju nd Canal, the rea isappea on the Gra building d can create e t e k h k li g a nal li n m s g t d nt desi ns tha er han to traditio permane installatio s a stage re On the oth e ry o iv ra m g e o n p It to o m ) t. 1. Feb 17, 2011 10:39 PM loin response to: Paulina Dudkiewicz at te nd. On e nigh 1755177 can ok backgrou during th We ? e nt-arts-1 ce e th a m in / sp in 3 ) a e 0 e rt Re: Eyes wide closed ay tim l/2281 nges th s/ente hitectura hting cha t during d co.uk/new jects/Arc . Here lig prominen ro a in ry /p h e m C ecture is o (v , it .c e u h angzho ondoarc cient arc odern on n .m m a w e ts w u th p Many thanks for yourH thoughtful post! /w re is y d n p:/ y da architectu ecture, a jects (htt imilarly b odern archit g pro m d S in a e b ri re th n Light certainly creates... It is how Calatrava said a few years ago: Light is for comfort. Together with space, t sc e h ca d u ebsites But by nig .html) yo f the w them. is _china ind light is the key to the o future of architecture. Calatrava meant, course, comfort lo as as. result of quality ck g behof angzhouWhat n h si l_ ri a s n ck ca into the b lo d_ set lighting ent ba grancreates les the m gfor n rt a a of the environment. Light this quality. Surely big responsibility designer! Or, as Jennifer p ct a re y f b rogier e.com/ ering o hadowed .youtubmy vers arse scatt is very large, because everyone is ww sp /w Tipton, LD for theatre o and dance, said: my responsibility looking through a :/ p h it tt 105 posts since w d at work (h only hinte es Turrell eyes... Apr 9, 2010 or ty in Jam li a re e reality s te t create th h light crea g li w o ld h u e o lso se lity? Sh We can a . s the rea Rogier kIcZaKns) ht create e g li W Q w o = h v ? f o watch examples ave other Do you h ? e n existing o just show ht, new, ou, of, lig zh g 2. Feb 18, 2011 11:44 AM in response to: Rogier van der Heide n a h , , talk nal, create Re: Eyes wide closed ? turrell, ca n? , io ss in e p n o rk r ou le, da What is y grand, ro s, spaces, e m ja s: Great topic ! Tag ecture ng, archit hticreate n, ligor The role of light and should show realities? Aside from keeping the fauna&flora on earth alive & kicksig deit ing, light is key in allowing us to experience spaces. It can stir up emotions helping human beings to undergo a change of mood. I believe that the lighting designer has the same powerful tool to play with, such as nature Celine. does. Natural light can be filtered into a space in order to shape dynamic patterns of light and shadow, creating Deceuninck space illusions and therefore creating new realities. So realities are created also without human intervention. A 5 posts since sunrise and sunset on facades can bring a theatrical show of colour-changing lighting... creating an infinite array Feb 18, 2011 of constantly changing realities... Two pictures as illustration. The second picture I found online, no idea if it is extra photoshopped but i m sure you ll have experienced such a breathtaking view in your life too...! (second picture: downtown-sunset-nyc by upthebanner)
Attachments:

PM 011 7:28 Feb 17, 2

? d e s o l c e d i w s e y E

dahab 2009 contrast.jpg (121.5 K)

LIGHTTALK 21

3. Feb 18, 2011 1:57 PM Re: Eyes wide closed ?

in response to: Celine Deceuninck

Paula.Rainha 5 posts since Feb 18, 2011

I believe that actually light does both: creates a reality and shows the existing one and sometimes they are so connected that is hard to distinguish the line between these two. Light is able to create a reality, in many possible ways, as well as it may bring a reinterpretation or a manipulation of the reality , if I may say. If we think simply of the natural phenomenon of day and night, natural light is no doubt the key element that defines our own daily reality. As Celine mentioned, not only fauna & flora are dependent or influenced by this light, as well as we experience the light shifts throughout the day as a new perspective of our environment. I live in Lisbon, it is a particular city where everyone talks about its light without really knowing how to explain why they feel different. I would suggest that light in here is part of several variables: materials, textures, natural daylight & direct sunlight, geography, environment, architecture and people. Light responds to and affects all these elements turning them into its reality. As for the reinterpretation of a reality, I think as lighting designers we are very conscious of this powerful tool, in here I totally agree with Rogier. Light can create and define emotions, atmospheres, realities, and this is seen in a quite extreme way on stage, where light and space are one. But we are having more and more examples of how light can shows us a new way of seeing things either being light art, urban interventions or architecture and what is interesting is that people are becoming more sensible and aware of the role of light.

4. Feb 19, 2011 1:51 AM Re: Eyes wide closed ?

in response to: Celine Deceuninck

I spoke at TEDx about the need and desire of darkness in order to create light, and articulation of spaces. For those who are interested: The Design of Darkness rogier 105 posts since Apr 9, 2010 Rogier

5. Feb 19, 2011 11:17 AM Re: Eyes wide closed ?

in response to: Paula Rainha

Celine. Deceuninck 5 posts since Feb 18, 2011

Exactly Paula, I very much agree with you that light can both show and create reality. I believe that there are 3 major parameters to consider this when designing a lighting scheme: the first is the function of the building or space and its environment; the second is its architectural characteristics; and the third is the clients vision or target. It is the role of the lighting designer to integrate those with harmony in the lighting scheme. Speaking about artificial lighting on building facades, there are many ways of illuminating a facade, but I suggest we could group them into 3: The first option is a wash of light that will essentially present the building as seen during daytime showing reality. The second option is adding focus to specific architectural characteristics by playing with various lamp sources and/or colours, resulting in a lighting scheme that shows reality whilst also controlling it. And the third option is entertainment lighting on facades using new technologies in order to create different realities such as 3D projections, interactive- and media facades, light art. The rising number of cities in the world investing in Light Festivals proves this growing (public) interest for these types of new technologies and its successful impact. Besides that, I believe that people start to realize the potential of new lighting & control technologies in general, thanks to the rising quality and well-designed applications. I agree with you Paula that it has been more obvious that people start to be more sensible and aware of the role of light could it also be because of the increasing demand for energy efficient solutions and the marketing actions around that subject? can I share with you 2x fun projects as illustration to the artificial lighting on building facades? See attached the results of the MSR workshop project organized by the PLDA during the Rotterdam city of architecture 2007 and the CPL Forum Philips. The purpose of this temporary lighting installation, that we developed with a great team of international lighting designers, was to surprise the viewer by creating a different day and night reality. A 7-minute play of white-to-blue rays of light around the cylinder revealed the structure of the glazing facade and imposed the cylinder, both creating and revealing a different reality to the outside world. The lighting scene also created nice reflections on the river Maas. Attachments:

WORKSHOP 2007 MSR R .pdf (256.9 K) EGLISEUM event church 01.2010.pdf (306.4 K)

 Georges Fessy

CUSTOMISED SOLUTIONS I 23
Bibliothque Franois Mitterrand - BNF, Paris, France

LED versus optic fibre: an outstanding performance

By Isabelle Arnaud The reading rooms of the Bibliothque Franois Mitterrand, lit by the famous reading table lamp designed by Dominique Perrault and Galle Lauriot-Prvost in 1995, are being upgraded with anew lighting system using LEDs.
Client Bibliothque Franois Mitterrand National Library of France BNF Architect Dominique Perrault and Galle Lauriot-Prvost DPA, Paris, France Custom solution manager Nathalie Bozzi Philips France Key account manager Fabrice Vende Philips France, Surennes LED engineering solution Antonio Hernandez Philips France, Lamotte-Beuvron Engineering solution Willy Eyraud Philips France, Lamotte-Beuvron Customer service Patricia Poulard Philips France, Lamotte-Beuvron Sales assistant Sandrine Gondouin Philips France, Surennes Light sources LUXEON Rebel Custom luminaires BNF reading table lamp, 20W

Users of the reading rooms, which provide 3,314 seats on two levels, are experiencing a revolution without even knowing it: the original lighting system using fibre optics is now being replaced with LED solutions. This is a real technological feat since the design of the table lamp has remained unchanged, as requested by the designers. A sustainable development approach The project started with a very simple idea: what improvements could the National Library of France - BNF - make to save energy? In2005, the BNF and the French Environment and Energy Management Agency - ADEME - worked together on a lighting renovation project with four major objectives: upgrading the reading table lighting and visual comfort, minimising the number of maintenance operations, reducing maintenance costs and, last but not least, participating in the collective effort of the library in terms of sustainable development. The lighting system consisted of 3336 generators equipped with 120W halogen lamps. The energy impact was tremendous, because of the electric consumption itself, and also because of the demands made on the air conditioning, to dissipate the heat created by the lamps. We worked with the book preservation laboratory, explains Gilles Berda, the electrical network department chief at BNF, and we had to take into account their specifications: the colour rendering index had to be close to 90, the power of the lamps had to be reduced, and we needed two levels of lighting as before. Berda immediately thought of using LEDs. The BNF issued a call for tenders which Philips won again (the previous lighting system was already a Philips solution). Before carrying out a wholesale replacement, Berda asked Philips to develop a module and tested two lamps in a reading room throughout a full year: two types of LED were used with two different colour temperatures, and two different illuminance levels. In order to know how the public reacted to the new lighting, we created a questionnaire

24 CUSTOMISED SOLUTIONS I

Dominique Perrault Architecture

The reading table LED lighting system unit provides uniform light to users. Readers can choose between two levels of lighting: 500 or 300lux. Lighting solutions: Philips Lamotte.

with six items (quality of light, visual comfort, glare, colours contrast, illuminance level, heat emitted by the lamp, illuminance quality when working on computer screen) that people had to rate from very satisfying to very insufficient with satisfying and insufficient in between. Once the answers were collected, we started the whole process of validation, consulting the conservation service to make sure that the LED lighting solution would not affect the quality of documents in any way. From renovation to revolution The second step could then take place: the delicate integration of the LED module in the lamp itself without modifying its design. It was quite a challenge and a very interesting one, says Nathalie Bozzi, LED customised product manager at Philips Lighting, We had to design a module that was small enough to get into the existing lamp and of course with all the required features to meet the expectations of the BNF, and in a very short time. The team at our production unit in Lamotte-Beuvron did an incredible job: they created a Luxeon Rebel LED module evacuating the heat properly, using mini-components and mini-connectors as well, made up of warm white LED (3,100K) with a colour rendering index of 85. Once the module had been developed, the team from Lamotte-Beuvron worked over 15 days in September when the library was closed and on several Monday mornings, when the library was also closed, to install the LED modules on site and make the needed adjustments: a true work of art. The underside of the module, in aluminium, which allows good heat transmission, and 70% of the luminous flux is guaranteed for up to 50000 hours of functioning, and with no infrared or ultraviolet radiation. Two levels of lighting are available: 500 or 300 lux; its up to the reader to choose! The extent of the works was such that the whole operation had been planned for several years. The first parts were carried out in 2009 and 2010, and the renovation of the other reading rooms will proceed from 2011 until 2014.

Websites www.bnf.fr www.perraultarchitecte.com

Georges Fessy

CUSTOMISED SOLUTIONS I 25

A small LED module, designed specifically for the renovation, replaces fibre optics in the existing lamps. The unit includes a Luxeon Rebel LED, a mini-optical system and mini-components. The aluminium on the underside of the lamp allows good heat dissipation.

Georges Fessy

 Leon Verlaek

CUSTOMISED SOLUTIONS II 27
High tech campus viaduct, Eindhoven, The Netherlands

Brains above the Motorway

By Vibeke Gieskes A light sculpture by Har Hollands marks the motorway exit to the Brainport of the Netherlands. The picture of brain cells, constantly changing colour, on the flyover represents the activities performed on the High Tech Campus. The High Tech Campus (HTC), where all Philips Research & Development activities are brought together, was set up in 1998 on the site of the companys former Nat Lab (Research Laboratories). This concentration of knowledge soon gave rise to a great deal of interaction between researchers. To intensify this process, in 2003 it was decided to open up the campus to other technology firms as well. This proved to be an effective move: in 2004 the government officially designated the Eindhoven region as the most important future knowledge region, the Brainport of the Netherlands. And now that is being fulfilled: 80% of all Dutch patents are filed in Eindhoven and the surrounding area. More than 8,000 researchers, developers and entrepreneurs are now collaborating on technological developments and products on the HTC. To accommodate them all and create a strong identity, the surrounding area and the new buildings on the HTC were spatially designed by top designers. The campus was given its own motorway exit. It was decided that the exit flyover had to function both literally and metaphorically as a link between the campus and the motorway; a sculpture would make the campus visible from the motorway. The owner of the flyover, the Department of Public Works and Water Management, gave its permission, but it laid down a number of conditions. For instance, the sculpture must not be an advertisement in disguise; it must not distract drivers; if it was a lighting project the light must not move too quickly and the figures must not be legible; they must also not reflect. To get some ideas for the work of art on and around the flyover, the HTC arranged an informal competition for which several designers were approached. One of them was Har Hollands, who had already done the lighting design for the campus. Luc van der Poel, senior lighting application expert at Philips Lighting, has co-developed the lighting solution with the lighting architect Hollands: Hars original idea was to project a printed circuit board using LEDs. Hollands adds: To make the link between the nature of the work on the campus and the people who work there, I did indeed want to cover the flyover on one side with a printed circuit board representing an electronic network

Owner Rijkswaterstaat Client City of Eindhoven Developer Nagel Eric Smith Philips HTC Operating Company Lighting design Har Hollands Eindhoven, The Netherlands Lighting solutions Luc van der Poel Philips Lighting Engineering consultant DHV, Eindhoven The Netherlands Installer Guus van Woesik Vught, The Netherlands

28 CUSTOMISED SOLUTIONS II
Har Hollands Lichtarchitect

Simulation of grazing lighting using red, blue and green colours on a semitransparent serigraphic panel.

and on the other side with a panel that would present abiological network. When my ideas crystallised a little more I realised that by showing brains youre displaying both biological and electronic networks, networks that moreover are timeless. As a result of this idea there is in fact a direct link between the people who are occupied on the campus with electronic networks and the same people who are networking with one another. Brains are both for thinking with and for working with. The figure on the flyover shows a network of neurons from the cerebral cortex that has been magnified around 50,000times. Implementing Hollands ideas turned out not to be simple. Vander Poel explained: The idea was put forward of making a panel with holes in it, behind which lines of light would move. Hollands then suggested making a semitransparent panel, one section of which reflected more light and one section less light. In the final design we opted for a dual lighting system from above, Hollandssaid. Oneseries of LEDs now illuminates the back of the panel, showing the outline of the brain cells, and another series illuminates the front, which at night colours the space between the brain cells. Bothseries change colour: from red to green to blue to purple, etc. In this way almost all the required colour combinations can be made. Covershave been fitted at the bottom of the panels to prevent light falling on carwindscreens. In 2009 Hollands light flyover won the Pride of Eindhoven award that is presented annually by the people of Eindhoven for the object, event or organisation of which they are proudest. Van der Poel thinks that the light sculpture on one of the busiest sections of motorway in the Netherlands is very impressive: The effect that this flyover has on the wider area provides tremendous cachet for all of Eindhoven. Andthats important, says Hollands. Over time towns have become less and less recognisable from the motorway: you hardly know nowadays what youre driving past. Because of the light sculpture on the flyover near the HTC everyone now knows that theyre driving through the Brainport of the Netherlands: the place is clearly marked and has again acquired its own identity.

CUSTOMISED SOLUTIONS II 29
Cross section through the bridge deck faces. Two separate sets ofLEDs illuminate the back and the front of the panel. Grazing light mounting type.

Semitransparent serigraphic glass panel with `brain cells.

Har Hollands Lichtarchitect

Stainless steel element fixing the panel to thebridge.

The viaduct linking the High Tech Campus with the busy A2/A67 motorway symbolises a new gateway to the city of Eindhoven.

 Podpod design

CUSTOMISED SOLUTIONS III 31

Stuttgart, Germany

PLATO lightS the streets

By Ruth Slavid Philips is collaborating with podpod design to develop LED streetlights that should appeal to more than just the immediateclient. PLATO is the working name for a family of luminaires that Austrian studio podpod design is developing in association with Philips. Intended initially for use in Stuttgart, Germany, where in some areas streetlights are suspended above the centre of the road rather than mounted on poles, PLATO uses Philips LEDGINE modular LED lighting solution, which was introduced in spring 2010 specifically for use in outdoor lighting applications. Philips approached podpod design under its new co-development arrangement, where it works with a designer to develop a product for a specific client, but with the intention of then making that product available commercially. podpod design is arespected lighting and product design studio, whose work includes the lighting masterplan for its home city of Vienna, as well as someluminaires.
Client City of Stuttgart, Germany Lighting designers Iris & Michael Podgorschek podpod design, Vienna Energy supplier interface EnBW, Vienna Custom solution manager Damien Rolland Philips Lighting, France Specifiers key account Rene Siemer Philips Germany, Hamburg Stuttgart key account Peter Zela Philips Germany, Hamburg Outdoor market manager Gerd Wiesemann Philips Germany, Hamburg Light sources LEDGINE 4000K Custom luminaires PLATO I & II Websites www.podpod.at

Michael Podgorschek, half of the brother and sister team that set up podpod design, explained that the team developed a number of design approaches and presented them to Stuttgart. PLATO was the one that was best liked, and so he continued to develop it. It has a clear shape, he said. It starts with a sphere cut by a pyramid, and then cut by a cube. Then we manipulated the dimensions of the sphere. Ifthis sounds complex, the result isnt. The luminaire has a clear simple shape, a gentle curve with a flat base which marries the round shape of the luminaire well with the rectangular form of the LEDGINE array. Cutaways of twenty five degrees at the base add to the elegance of the appearance and are also important functionally. We didnt want it to just be flat at the bottom, said Podgorschek. Wewanted it to have some long-distance visibility. It is very important to see the line of the street as continuous. The designer experimented with a range of cutaway angles, before settling on twenty five degrees. This solution considerably reduces the upward light spill, the subject of increasingly stringent legislation. PLATO has been designed for a LEDGINE array of maximum sixty four LEDs - eight rows of eight. Damien Rolland, the project manager for the development at Philips Outdoor Lighting, says that the light emitted by sixty four LEDs is today already sufficient to have the right amount on the streets - and that in the future it will be too much. LEDsefficiency, compared to standard lamps, is constantly increasing hesays. Gerd Wiesemann, Philips Germany outdoor market manager explains LEDGINE modules are simple to update. For example, after five years the customer can replace the modules by even more efficient ones.

32 CUSTOMISED SOLUTIONS III

Three cut-off angles of 20, 30 and 40 were compared during the design of the luminaire.

By this means the body of the luminaires stays in place and the more efficient LEDs will save another 30% of energy. The customer can benefit from the fast development in LED-technology. Philips already has optical lenses suitable for putting in front of the LED array. Because these luminaires will be suspended in the centre of the road, the lenses light distribution needs to be symmetrical. Pole-mounted luminaires, in contrast, need an asymmetric light distribution because of their situation on the edge of the pavement. Should any of these luminaires need to be mounted off centre, it will be possible simply to swap the symmetric lenses light distribution for an asymmetric one. Beyond the area of the LEGDINE array, there is a border of frosted glass, through which there will be some deliberate leakage of light. This, says, Podgorschek, is because he doesnt want street users to experience a violent contrast between the dark sky and the bright light of the LEDGINE and this approach will also reduce glare. He is also considering the possibility of using some coloured LEDs in thismargin. The luminaires need to be adjustable in both the vertical and the horizontal plane. Horizontally, they need to be fully rotatable to take account of bends in the road. Vertically, it will be necessary to compensate for cables that are at an angle. To allow this to happen, the designer has developed a ball and socket fitting in association withPhilips. Podpod design was eager to develop a suspension fixing that could be secured without special tools. This is a good goal, said Rolland, but unfortunately it is not feasible because of security regulations or large extra investments. In this case, he says, our contribution is to be a pain in the neck. Nevertheless, podpod design is full of praise for the ease of working with Philips and the technical support. This is not an easy project, because of the technical constraints and of the need to satisfy not only the immediate client but also potential clients in other cities and countries. By the time PLATO launches commercially, probably towards the end of this year, it will have a new name and have undergone rigorous prototyping and testing. Philips expertise will ensure that it is functionally appropriate and reliable. The collaboration with Podpod means it should also be a new design classic.

Podpod design

CUSTOMISED SOLUTIONS III 33

The luminaire has a clear simple shape, a gentle curve with a flat base which marries the round shape of the luminaire well with the rectangular form of the LEDGINE array. said Michael Podgorschek, podpod design.

Podpod design

Lights in
By Inga Hogrebe

Alingss

For more than eleven years the town of Alingss in Sweden has hosted the PLDA workshop. Every September six professional lighting designers from around the world are invited here to head a workshop team.

 Patrik Gunnar Helin

36 WORKSHOP
To provide practical training as a back-up to theoretical university courses, Kai Piippo, alighting designer from Stockholm, staged a small-scale practical workshop in Alingss in 1998 with 22 students from Gothenburg University. Kai was introduced to Alingss by PLDA (Professional Lighting Designers Association) colleague Torbjrn Eliasson, wholives in the town. Pippo then went on to develop the workshop with Alison Ritter and Joachim Ritter in 1999, and this led to the first one-week practical lighting workshop in Alingss in 2000. Sincethat year, six experienced international lighting designers have been invited annually to head a workshop team, guiding participants through the complete lighting design process, starting with the analysis of the site, development of the lighting design concept and finally the installation of lighting equipment. The workshops are an excellent opportunity for the promotion of the profession since they raise awareness of the value of designed lighting at local-government level and among the residents and visitors to the host city. The PLDA workshop format is built around afive-day training programme, which includes an accompanying conference on atopic related to the theme of the workshop. Thereare other speakers in addition to the heads of the workshop, and this gives them an opportunity to share their approaches and design philosophies with the audience. Atthe end of the conference, the workshop participants are asked to present the concepts they have developed during theweek. architecture or related professions, but also include qualified lighting designers, architects and landscape architects and sometimes urban planners. The client group (the town, electrical suppliers and the partners of the workshop) learns about alternative lighting solutions for architectural projects in the urban nightscape and has an opportunity to invite representatives from other towns and cities tovisit the lighting installations. Some of the workshop heads already have teaching experience, some run an office team, and some have never worked with a team before. One way or another, the workshop situation provides excellent leadership/teacher training. The workshop head is not only expected to communicate lighting content, but also to be aware of group dynamics and discussion management, and to address the human elements that arise during intense phases of work. The lighting schemes that are developed during the workshop week are temporary installations. Residents and visitors experience alternative lighting solutions and learn about the possible ways in which light can enhance urban nightscapes and improve their social life. The workshops are supported by the PLDA circle of sponsors, additional manufacturers and partners who sponsor the event. The generous supply of equipment offers the participants the opportunity to work and experiment with cutting-edge technologies, programming systems, state-of-the-art fixtures and colour filters. Manufacturers donating DMX-controlled equipment also provide technical support during the workshop. Trained technicians from the companies support the groups with the programming of the desired sequence. Lights in Alingss has embarked on a new era. In addition to the one-week workshop every autumn, VIA Publishing will be offering further educational events, seminars and courses in the field of lighting, as well as socialevents. In particular the upcoming advanced seminars and master classes for professionals will contribute towards developing Alingss as a centre for lighting. Professionals, young designers and students will visit the city to undergo structured skills enhancement and continue to acquire know-how to ensure all-round competence in lighting design, daylight design, light and health, leadership qualities, and much more. The town of Alingss has benefited immensely from the lighting workshop over the pastyears. Residents enjoy the lighting schemes and are proud to show off their town to family, friends, visitors and guests. It is good for businesses here, because it brings additional people to Alingss who shop and go for a coffee, says MonicaFageiberg in a film by the Medieprogrammet 2009 Alstrmergymnasiet (DanielSvensson, Filip Njd, Rebecka Olofsson, Maria Wallmann, Mimoza Berista, AnnaMaria Karlevid). I think that Lights in Alingss is fantastic. I just feel so happy when the whole town is crowded with people and full of life and activity everywhere, says a resident of Alingss in a film by Patrik Gunnar Helin for Lights in Alingss 2009. In 2011, the workshop groups will again be headed by professional lighting designers. Their names will be announced soon.

Education, education!

Participants enjoy learning from an experienced lighting designer and working ona real-life situation. They are predominantly young designers studying lighting design,

Project/year Cathedral of Light, Lights in Alingss 2006 Workshop Head Paul Gregory, PLDA/USA Information website www.via-verlag.com/events 2011 Registration www.lightsinalingsas.com

WORKSHOP 37

The lighting schemes that are developed during the workshop week are temporary installations. Residents and visitors experience alternative lighting solutions and learnhowto improve their social life. Top: Project: The underpass (2010), Workshop Head: Karen van Creveld, PLDA/UK Middle: Project: The canal and bridges (2010), Workshop Head: Deike Canzler/S Bottom: Project: The playground (2010), Workshop Head: Malcolm Innes, PLDA/UK

Patrik Gunnar Helin

38 CONCEPT CORNER

Modelling with light

By Natacha Lameyre, ChristianFerouelle, JasminevanderPol What is the size of the spot on my wall? At what distance should I put the product? Which beam angle should I choose? These are questions we may ask ourselves when making a lighting proposal.
Philips Belgium

Light in the Mont des Arts, Brussels, Belgium Lighting designers: Isabelle Corten, Julien Pavillard

Light patch at a given distance

(a)

Estimating the actual size of a light patch (a) from a floodlight at a given distance is difficult. The typical definition of beam spread refers to the half-intensity, indicated in intensity diagrams (b). This means the spread of the beam within which the intensity is more than 50% of the maximum value. The related beam width does not correspond to the size of the lit area on the surface but merely to the theoretical angle of the beam. Estimating the true width of the beam can be done based on the visual beam angle (VBA). Visual beam angle = strongest gradient of light This value can be read from the graphs shown here. The first curve (c) is an illuminance distribution, at a given distance, derived from the photometrical data of a floodlight. The one below (d) gives the derived change in illuminance gradient, from which the visual beam size can easily be deduced. The steeper the gradient in the illuminance curve, the higher the peak in the second curve. This peak corresponds to the most strongly perceivable brightness difference and thus to the visualbeam. The visual beam angle cannot be read directly from an intensity curve. For this reason, these values are calculated by using dedicated software developed for lighting.

E (lux) Intensity diagram

(b)

I (cd/lm) Illuminance distribution

(c)

E (lux) Illuminance gradient Gradient variation (dB/m)

Visual beam

(d)

CONCEPT CORNER 39
SETTING 1 Lighting a sculpture requires us to know the size of the light patch that will be applied to it. In this way, the light will focus on the object to be lit. The visual beam angle should be adapted to the desired effect of either accentuation or diffuse lighting. SETTING 2 Two floodlights are used: one to create a soft effect over the whole statue, and the second to highlight a specific element such as the front. The angle between the two luminaire locations depends mainly on the shape of the statue.

Installation: In front of object Quantity: One floodlight Effect: Strong accent or soft wash of light

Installation: Both sides of object Quantity: Two floodlights Effect: Balanced

Accent lighting A narrow beam placed close byproduces a strong accent. The illuminated area depends onthe visual beam angle and thus on the lens choice. It can also be used at a bigger distance to soften the effect.
Distance D = 1.5m H = 3m

Modelling with light A combination of beams is used to balance the scene: a narrow beam highlights the interesting part and a wide beam underlines the volume.
Distance D1 = 1.5m D2 = 3m H = 3m

Luminaire eW Burst 14

Luminaires eW Burst 14 and 23

Diffuse light A wide beam creates a soft and uniform wash of light. Thelight covers the complete object and increases its readability. Theimage is flattened due to thepositioning of the luminaire and the width of the beam.
Distance D = 3m H = 3m

Visual beam width Diameters of the visual patch at a distance D are given in the diagrams on the right. Thevisual beam angle is 28 for the eW Burst with the 14lens and 44 for the eWBurst with the 23one. The maximum illuminance Emax is given on the right-hand scale. However, the average illuminance over the visual spot can be calculated for a better appreciation of the gradient of light over the lit area.

Diameter of visual spot

eW Burst 14 Diameter of visual spot

Luminaire eW Burst 23

eW Burst 23

 Pierre Crouzet

Outdoor
By Maria Carolina Wichert

SHOWROOM 41

atmospheres
The road-lighting application area in the Philips Outdoor Lighting Application Centre in Lyon, France - OLAC - has recently been updated with new products and concepts, including an observation room that gives visitors the feeling of being in the drivers seat. Particular attention has been given to the fast growth and penetration of LED systems. Luminaires using the latest technology, such as SpeedStar and CitySoul, have been introduced, and LED technology is used in more than 70% of the road scenes. With LED products now being designed specifically for this application, we can now have road lighting that is safe, flexible and sustainable. LED road solutions come in three colour temperatures: warm white, neutral white and cool white and at OLAC visitors can experience for themselves the differences between them. In different scenes, visitors can enjoy the comfortable atmosphere created by the warm white 3000K source. Ifthe neutral white solution (4000K) is chosen, performance and energy savings are optimised, giving customers the best Total Cost of Ownership - TCO - in renovations where the spacing of the poles is not changed. Visitors can also compare these with the most economical system, which uses cool white LEDs (5600K). Theyprovide a different atmosphere with lower initial costs of installation. The choice of LED sources will then be based not only on the energy consumption but also on the preferred atmosphere created by a specific colour temperature and by the budgets of customers. Preferences vary greatly between cultures and countries. The potential savings of up to 60% in power consumption, when comparing these new LED solutions to outdated sources, such as mercury lamps, is also demonstrated at OLAC. All Philips LED road lighting luminaires are now upgradeable. This means that the LEDGINE can be updated after a period of 5to 7years on-site, in the same straightforward way that a lamp is changed today. This should be a major factor in helping cities achieve their ambitions for energy efficiency over the next 20years. Please contact your Philips representative if you want to visit OLAC. We will be delighted to welcome you.

Lighting solutions Corinne Lac, Christian Ferouelle Philips Lighting Electrical installation Ernesto Dias, Sbastien Villemont Philips France Light sources Philips LEDGINE Luminaires Philips SpeedStar, Philips CitySoul LED, Philips DecoScene LED Lighting controls Philips DynaDimmer, Philips StarSense

42 BLUE SKY THINKING

Open dialogue on
By Nina Rosenthal

retail fashion
The retail industry and its brands are constantly rein venting themselves. Creating strong brands and experiences is essen tial in order to have a positive impact on shoppers, who are becoming ever more demanding. They expect something new and surprising each time they go shopping. They are looking for engagement and they want to be addressed individually.
How will shopping look in a few years? How can retailers increase revenues, and how should they design their stores? How will shoppers interact with brands? How will the rise in smart shopping and social media change retail? The virtual world will be an increasingly serious future competitor which will make the store even more important as the only personal point of contact with the brand. The retail sector is already feeling the impact of virtual and smart shopping and the retail lighting industry is also undergoing a remarkable transformation. Conventional lighting is becoming obsolete and LED lighting is taking over, with many new possibilities thanks to its tremendous flexibility and betterperformance. The need to understand the new market, retail trends and the individual shopper is driving innovation at Philips. In order to design the right solutions, it is crucial that we have a profound understanding of retail. In the field of fashion, we aim to do this partly by working

BLUE SKY THINKING 43

with an expert retail panel to create a vision of fashion retailing that can evolve over time. In order to understand new cultural trends and new store formats, we are working closely with trend-watchers, architects, lighting designers and retailers. Joint innovation will be the driving force that will enable us to explore the new possibilities that LEDs can offer. We also want to cooperate with industry partners such as ceiling manufacturers, the flooring industry, and coating companies. This dialogue started with a global workshop series called Open dialogue on Fashion Retail. Philips organised workshops in Hong Kong, New York and London, at which an expert panel of international architects and lighting designers was invited to discuss the trends and challenges for the retail business of the future. With the new possibilities of LEDs in mind, the role of light was defined byaddressing the following questions:

Howcan lighting support engagement with the shopper? How can light help to personalise the shopping experience? How can lighting provide service? Which are the right tools to enable the brand experience to start on the street? How can the world of online shopping be interwoven with the real world to form a singleentity? The design challenge of the future will be to create a changeable, multi-functional space that transforms the store interior into a unique stage for encountering and experiencing the brand. The visionary results of this expert panel already show that LED technology in the fashion retail sector has an extremely promising future. The following pages show some of the concepts developed during these workshops.

44 BLUE SKY THINKING

Moods - adaptable lighting

The wellbeing of consumers depends on many factors that change according to the time of day. With dynamic lighting moods, the store interior can stimulate natural biorhythms. The adaptable colours of LED panels in the ceiling and walls are controlled by software that creates different moods at different times. In order to create ahealthy ambience, the colours and atmosphere change from morning to afternoon and again intotheevening.

To create the right context for fashion, the shop interior reflects different seasonal atmospheres. So for the summer collections, dynamic lighting projections on the walls and the ceiling could simulate beach life with brilliant sunshine, whereas for the winter collections the system could create a cool ambience that includes wind and snow.

Seasonal concepts

Shoppers expect something new and surprising each time they goshopping

Imagine a thunderstorm or a sunny day -each kind of weather corresponds to a different fashion collection. A computeraided lighting system could simulate those meteorological conditions, so that the ceiling and the walls of the store change accordingly. The interior would reinforce the effect of a particular fashion collection with matching weathersimulations.

Bring the weather inside

Lighting ceilings, walls and floors could create specific pre-programmed moods for different occasions. Consumers would re-experience the store and be attracted by new colour ambiences that would coincide with different cultural settings or special occasions such as the winter or summer sales. The fully controllable lighting system would create a tailor-made environment that could be adjusted easily.

Reinvent the brand

BLUE SKY THINKING 45

Discovery lighting

Temporary special lighting for single shelves would arouse consumers curiosity and interactive lighting systems would enhance the shopping adventure. These special lighting controls could turn the shop interior into a place of discovery.

Augmented-reality shop window

What about awakening consumers curiosity when the store is closed? When they stand outside the window, an integrated touch screen would enable them to highlight individual areas of the interior creating a virtual store experience. Augmented-reality shop windows would expand the consumers brand experience after hours.

Rating display

Computer-aided LED displays would provide real-time feedback on the popularity of individual fashion items, revealing the number sold. Displayed alongside temporary special offers, this would expand the customers choice: Should I buy the less popular or the more popular shirt, or the one being sold at a special price?

How can lighting support engagement with the shopper?

Individual shop guidance

Online and real shops would combine to provide coherent individual experiences: a smartphone app will guide consumers through the shop. They would find their chosen items easily by following the guiding LED lines, integrated into the floor and activated individually. The system would set up a continuously updated dialogue to merge online and real-time experience through smart technologies and LEDs.

 Duccio Malagamba

Spanish lighting design culture

By Esther Torell

GALLERY 47

A group of designers from different backgrounds have used their experience both within Spain and overseas to infuse lighting design in Spain with the creativity that was previously lacking. The results of their efforts can be seen in exciting projects from around the country.

Just over a a decade ago, a group of young entrepreneurs decided torevolutionise the conventional approach to lighting projects in Spain, which had hitherto been the sphere of engineers, manufacturers and distributors. Inspired by the infinite possibilities on offer if creative design techniques were to be applied to light in architectural spaces, and fired by the boom in construction, they put their efforts into developing a vision focused more on enhancing visual, emotional and comfort aspects. They are achieving their objective by dint of effort, motivation and an intensive promotional campaign among Spainsarchitects. Maurici Gins has stood out and is a key player in establishing the profession. Back in 1990, walking along Barcelonas streets, itoccurred to me that the vast majority of public realm had poor quality lighting, some of it dazzlingly bright focal points, and either an excess or absence of light., he tells us, when describing how he started out. Intent on changing the role of light, he decamped to Argentina to broaden the training he had acquired as a commercial electrical appliance technician and to gain sufficient experience before returning to Spain to set up his own consultancy. I came back with the intention of establishing the profession, of continuing to learn through experimentation, and by continuously presenting lighting as a creative, communicative element, not just something functional, and as anaspect of design capable of coexisting alongside new technologies, Gins explains. His endeavours have been rewarded with international recognition for projects by his design studio artec3 , including IALD awards for his lighting projects for the Plaza del Ovalo and in the Plaza del Torico, in Teruel, at the Torre del Agua in Zaragoza and for the facade of the Barcelona Roca Gallery building.

Plaza del Torico, Teruel, Spain Architect: b720Arquitectos Lighting design: Maurici Gins, Artec3

48 GALLERY

Exposicin Dmenikis Theotokopoulos, 1900, ElGreco, MexicoCity Scenographer: OMB Diseo Grfico Lighting design: Rafael Gallego y Lara Elbaz

Hotel W Barcelona, Barcelona Architect: Ricardo Bofill, Taller de Arquitectura Lighting design: Birgit Walter, BMLD

Birgit Walter was working as an interior designer in an architects studio when she discovered the importance of natural light. She was seduced by the subject and decided to sign up for the training programme at Parsons University in New York. While I was studying, I did work placements for various firms before I was taken on at Horton Lees Lighting Design, and then at Brandston Partnership, where I stayed for nearly five years, she recalls. Later, missing the Mediterranean light, she returned to Barcelona to set up her own studio, BM Lighting Design, and has since collaborated with such famous architects as Ricardo Bofill, Enric Miralles, Benedetta Tagliabue and Oscar Tusquets. My time in New York has definitely influenced me professionally in the way in which I run the studio and set up projects, Walter said. BMLDcombines efficiency and knowhow from the U.S. with the European creativity I get from my cultural baggage, which is a mix ofGerman and Spanish culture. Antn Amann, Professor of Architecture at Navarra University, came from a different background - that of education. Light, as a phenomenon, is something that all architects are passionate about, he said. However, as a profession we are sadly lacking in knowledge of this area as its not a discipline taught at university.. In conjunction with the academic side of the discipline, he is working intensively out of his architectural lighting design studio, to which he has imparted a clearsighted architectural and technical focus: We dont want to focus on projects simply from an artistic standpoint, like other professional colleagues might do, he explained. Our objective is for our work to be integrated into architecture. Lighting enables me to express myself fully, Rafael Gallego, the fourth member of this pioneering group, tells me when speaking about aprofession that is also his passion. A passion demands creativity, ahigh level of technical knowledge, risk and the desire to learn, and hedevotes all his time and energy to just that. His designs seek abalance between the physical and the biological properties of light and the creative and visual aspects of light, evoking an emotional

Cortesa de Starwood Hotel and Resorts

Frdric Fraeys / OMB Diseo Grfico

 Andrs Otero

Paseo del Ovalo and surroundings, Teruel, Spain Architect: David Chipperfield Architects and b720Arquitectos Lighting design: Maurici Gins / artec3

50 GALLERY
response in users: Light is a language that connects peoples feelings, he explained. In 2004, together with a partner, he set up Madrids first independent lightingdesign studio and is currently sole director of Aureolighting. The profession is indeed expanding, and it is receiving ever more recognition. Increasing social awareness of the need to reduce energy consumption has encouraged these lighting designers to become part of the architectural process as professionals capable of creating inspiring, emotional environments in a sustainable and responsible way. The efforts of these pioneers and also of Ignacio Valero, the driving force behind the Masters degree in architectural lighting at Madrids Polytechnic University (MASTERDIA), Carlos Sierra and Alfred Sa have culminated in APDI - the Professional Lighting Designers Association. The Associations 30 members are now an important group. Through its work and involvement in education and training, APDI is successfully generating a higher profile for light in Spain, a country that, perhaps owing to its everabundant and excellent natural light, so full of rich and intense colours and strong contrasts of light and shade, has been less aware than others of the beneficial effects of good artificial lighting onpeoples physical and emotional well-being.

MauriciGins www.artec3.com BirgitWalter www.bmld.es AntnAmann www.alslighting.com RafaelGallego www.aureolighting.com APDI SpanishProfessional LightingDesignersAssociation www.a-pdi.org

Joyera D, Pamplona, Spain Architect: Vaillo & Irigaray Lighting design: Antn Amann, ALS

JM Cutillas

GALLERY 51

Hotel W Barcelona, Barcelona, Spain Architect: Ricardo Bofill / Taller de Arquitectura Lighting design: Birgit Walter / BMLD

Cortesa de Starwood Hotel and Resorts

52 PROJECTS ONLINE

Snapshot
Complesso Homes office complex, Pieve di Soligo, Italy
The Direzionale Homes centre going up onthe edge of an industrial area at the foot ofthe Pieve di Soligo hills, fifty kilometres from Venice, brings together five companies in the property sector. The building, designed by architect Mario Mazzer, comprises two parallelepipeds that intersect in a nonorthogonal manner. The character of the project comes from the texture of aluminium, overlaid on the facades in a pattern of interconnecting extrusions.
Client HOMES S.p.A. Architect Mario Mazzer Lighting design Studio ETA progetti

Heineken Brand store, Amsterdam, The Netherlands

Amsterdams Heineken The City is a unique store which allows visitors to do everything from booking tickets for events, to buying exclusive clothing, to designing their own beer bottles. The LED lighting design uses lower lighting levels in combination with cooler light to underline Heinekens icerelated image.
Client OVG Project Architect Frank Tjepkema Tjep Interior production Theo van Lamoen, Eric Simon Thomas Hypsos

Hospital Nuestra Seora de Ftima, Spain

In 2010, the 25,000m2 Nuestra Seora de Ftima hospital in Vigo, Spain implemented a refurbishment programme for its wards, including new lighting. In the clinical areas a specially-designed bed-head unit with Celino luminaires and Zadora LEDs meets both clinical and patient needs. Rotarisrecessed and suspended circular luminaires in the waiting rooms areas create a warm, friendly and calming atmosphere. Offices and administrative areas are equipped with state-of-the-art low-glare, highefficiencyluminaires.
Client Hospital Nuestra Seora de Ftima, Architect Incodesa

Gardin & Mazzoli

PROJECTS ONLINE 53

There are many examples of how light can enhance peoples lives. Here we have selected six projects from across the globe, ranging from the sets for a rock concert to a hospital. To read more about these and other projects, please go to our website http://www.lighting.philips.com/main/projects

Sunset mixed development, Dubai, UAE

Halfway between Dubai city centre and the Palm Jumeirah islands, the Sunset mixed development combines a shopping centre, commercial offices and residential apartments. The crown of the glazed shopping mall is uplit with blue LEDline LED lighting, which is designed to complement the interior lighting, visible from outside. Above the main entrance hall, the cornice is highlighted with two lines of iColor AccentPowercore.
Client DIP (Dubai Investment Properties) Architect Abdallah Moneimneh Arkiteknik International Consulting Engineers Lighting design James Poore, Mary Rushton-Beales Lighting Design House

Radiohead tour, multiple locations

British rock band Radiohead is always looking for ways to reduce the carbon emissions associated with touring. It comes as no surprise, therefore, that it chose LED technology for its lighting.
Lighting solution Architainment Utopian Lighting Specialz ltd

Hotel Renaissance, Amsterdam, The Netherlands

The refurbished Renaissance Amsterdam Hotel in the city centre is connected to the unique 17thcentury Koepelkerk Church, which can host events for up to 700attendees. Thechurch, a protected monument, has been equipped with adynamic RGB Philips Lighting installation that gives customers theopportunity to tailor theirevents. Lighting designer Livingprojects was not allowed to drill any holes in the fabric, so it used its proprietary non-aggressive paste tofix lighting fixtures and cabling.
Client Renaissance Hotel Lighting design Livingprojects

Newbery Smith

54 SPOTLIGHT

Yes is more
Author: Bjarke Ingels Publisher: Taschen ISBN-13: 978-3836520102 400 pages, colour illustrations, soft cover Language: English

Twenty Buildings Every Architect Should Understand

Author: Simon Unwin Publisher: Routledge; 1st edition (1 Mar 2010) ISBN-13: 978-0415552516 240 pages, duotone illustrations, hardcover Language: English Have you ever wondered how the ideas behind the worlds greatest architectural designs came about? What process does an architect go through todesign buildings which become worldrenowned for their excellence? This book reveals the secrets behind these buildings. Theauthor asks you to read the building and understand its starting point by analyzing its final form. Throughthe gradual revelations made by an understanding of the thinking behind the form, you learn a unique methodology which can be used every time you look at any building.

Manufacturing Material Effects: Rethinking Design and Making in Architecture

Authors: Branko Kolarevic and Kevin Klinger Publisher: Routledge; 1st edition (December 24, 2008) ISBN-13: 978-0415775755 320 pages, colour illustrations, paperback Language: English Designers are becoming more directly involved in the fabrication process from the earliest stages of design. This book showcases the design and research work by some of the leading designers, makers and thinkers today. This highly illustratedtext brings together a wealth of information and numerous examples from practice which will appeal to both students and practitioners.

Yes is more is a popular and easily accessible manifesto for architecture as one of the most relevant aggregates of the 21st century in which we may epitomise and answer many of the global agenda-setting questions. In the exhibition and in the book, B.I.G. show how they conceptualise the polymorphous demands, complex rules and highly specialised knowledge of society, creating tangible solutions through artistic processes; solutions which time and again attract the interest of the population at large as well as the respect of global aficionados. Yes is more is a communication created in this very spirit - combining elite and popular elements allowing the sublime to shine through in the commonplace. Thus audiences are invited into B.I.G.s processes, methods and results using the most approachable and populist means of communication available - the cartoon. -Kent Martinussen, Architect, CEO, Danish Architecture Centre.

Light & Emotions Exploring Lighting Cultures

Edited by: Vincent Laganier and Jasmine van der Pol Publishers: Birkhuser GmbH, Basel (Switzerland), January2011 ISBN-13: 978-3-0346-0690-5 416 pages, 300 colour photos, Soft cover Language: English www.birkhauser.ch Lighting design is about creating emotions with light. It differs between projects and depends on the context and culture. Thisbook presents interviews with 47 lighting designers in twelve countries across Asia, Europe and America. Beautiful pictures illustrate their projects. Their stories will introduce you to the fascinating world oflightingdesign.

EVENTS 55

WHERE TO GO
15 19 May Lighting fair
Lightfair International www.lightfair.com/lightfair/V40/ Philadelphia, PA, USA

9 12 June

Lighting fair

Guangzhou International Lighting Exhibition www.light.messefrankfurt.com.cn Guangzhou, China

10 - 15 July

CIE Congress

The 27th Session www.blissgroup.co.za/bookings/ Sun City, South Africa

22 - 24 September

ALD Congress

Enlighten Americas www.iald.org New Orleans, Louisiana USA

19 22 October

PLDA Congress

Professional Lighting Design Convention www.pld-c.com Madrid, Spain

The quarterly email newsletter with exciting and inspiring Luminous topics. Like to receive e-Luminous and keep up-to-date with the latest realized projects and much more? Send an email to: luminous@philips.com. To read Luminous online go to: www.philips.com/luminous

The latest in lighting technology www.philips.com/lightspec

Copyright
2011 Koninklijke Philips Electronics B.V. All rights reserved. Reproduction in whole or in part is prohibited without theprior written consent of the copyright owner. The information presented in this document does not form part of any quotation or contract, is believed to be accurate and reliable and may be changed without notice . No liability will be accepted by the publisher for any consequences of its use. Publication thereof does not convey nor imply any license under patent - or other industrial or intellectual property rights.

[advertorial]

is your city a potential

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The international city.people.light award was set up jointly in 2003 by Philips Lighting and the lighting urban community international association (LUCI). It rewards towns or cities that best demonstrate the added value that lighting can give to an areas cultural and architectural heritage and night-time identity whilst at the same time respecting the environment.

Three towns or cities will be awarded for their projects and the first prize will be presented with a trophy and a cheque for 10.000. Is your urban lighting project a potential winner? Go online now to see if you meet the criteria and register for the 2011 award. All entries must be received by 30 June, so visit www.citypeoplelight.com/award or www.luciassociation.org today.

The award ceremony will take place in Gothenburg, Sweden, during the LUCI Annual General Meeting in November 2011.

Hangzhou, PR China 2nd prize city.people.light award 2009

city.people.light

award 2011