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THE INTERNATIONAL MAGAZINE FOR DESIGNERS WITH LIGHT #83 2015
THE INTERNATIONAL MAGAZINE FOR DESIGNERS WITH LIGHT
#83 2015
LET THE OUTSIDE IN
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OUTSIDE IN
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018

CONTENTS

[ feb/mar]

Front cover pic: Fulton Center, New York supplied by Grimshaw.

048 Interview Jill Entwistle gets to grips with Lucent founder Michael Dunk.
048 Interview
Jill Entwistle gets to
grips with Lucent founder
Michael Dunk.

DETAILS

022 Editorial Comment

The darc awards has finally arrived.

024 Postcard

Courtesy of Factorylux and Light Collective.

026

The latest industry news.

028 darc night

News from the darc awards launch party.

030 Eye Opener

Flylight, Het Noordbrabants Museum, The Netherlands

032 Drawing Board

Our preview of proposed projects.

036 Spotlight

A selection of brand new projects from around the world.

042 Briefing We talk to Rogier van der Heide, Zumtobel’s new Head of Design and Marketing.

044 Snapshot

Introducing South African practice

Pamboukian Lightdesign.

046 Lighting Talk

Jennifer Hamilton, founder of The Vawdrey House, talks light.

154 Inspirations

Illustrator / architect partnership, Nanotak.

Headlines

ART & DESIGN

086 Fetes des Lumieres, Lyon

Paul James pays the world’s most established festival of light a visit.

092 Amsterdam Light Festival

Paul James takes a canal stop tour of this impressive event.

100 Enlighten Manchester

A pilot lighting project showing promise.

104 Dark Source Stories

The latest installment in Kerem Asfuroglu’s dark vision of light.

092
092

TECHNOLOGY

106 Geoff Archenhold

Smart lighting and an industry slow to react.

109 Christopher ‘Kit’ Cuttle

The difference between vision and perception.

112 Case Studies

A selection of projects featuring innovative lighting including: Galeria Melissa Covent Garden (p112); Whitman-Walker Memorial (p114); Bolte Bridge (p116); Qatar Handball Association Complex, Doha (p118); Schlossplatz (p120); Medici del Vascello (p122); Encants Market (p124); Liberty Mutual

footbridge (p126); Daryl Roth Theatre (p128).

130 Auroralia Award

Strijp-5 in Eindhoven is victorious.

132 Rethink The Night

Hellenic Illumination Committee workshop.

134 Bench Test

David Morgan looks at Trinity’s new range of

slick and stylish exterior lighting bollards.

136 Exterior Lighting Product Guide

Inside out fittings.

144 Euroluce Preview

What’s coming up in Milan.

146 New Product Guide

Brand new products for 2015.

152 Event Calendar

art & image

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020

CONTENTS

[ feb/mar]

Online Watch Grimshaw Partner, Vincent Chang and Artist, James Carpenter as they discuss the Sky
Online
Watch Grimshaw Partner,
Vincent Chang and Artist,
James Carpenter as they
discuss the Sky Reflector-Net
at the Fulton Center, on
www.mondoarc.com

PROJECTS

054 Novo Nordisk HQ, Bagsværd Winner of the 2014 Danish Lighting Award, the Novo Nordisk campus is the clever work of Grontmij and Henning Larsen Architects.

062 Chifley Tower, Sydney PointOfView brings the building’s Art Deco styling to life through a creative lighting update.

074
074

PROJECTS

068 Fulton Center, New York

Featuring Grimshaw design, in conjunction with Arup, and daylighting design from James Carpenter Design Associates.

074 IZB Residence, Munich

At the heart of Martinsried Life Science Campus sits an elegant space brought to life by Occhio lighting.

080
080

PROJECTS

080 Onze Lieve Vrouwe, Amersfoort

Dutch designerJeroen Jans turns the tower into a central and prominent structure for the community.

083 Nordbad, Munich

The iconic historic swimming pool receives

renovation to its lighting designed by Gabriele Allendorf Light Identity.

083
083

022

DETAILS

[editorial]

Paul James, editor, writes: This issue comes to you later than normal as we just had to wait for our darc night, the official launch party for our international lighting design darc awards that took place in London on February 5th. It was a fabulous evening and many thanks to Light Collective for transforming the venue with light and Kerem Asfuroglu of Speirs + Major for the amazing Dark Source video and exhibition. Now the party is over, the serious issue of developing the awards to be exactly how you want them gets under way. We have listened to lighting designers and manufacturers who have been craving change and we feel we have come up with the ideal format - both in terms of the awards process and the event - to really engage with you. As I said during my speech, we were reluctant to launch yet another awards programme but the calls were getting so loud that we couldn’t ignore them any longer. A huge thank you to our initial eight commercial partners - Concord, Innermost, KKDC, L&L Luce&Light, LSE Lighting, Lucent, Megaman and Reggiani - and we will have some more announcements about further partners coming on board shortly. Based on the reaction at the launch party, three components that people particularly seem to like about the darc awards are the year-round online presence of projects and products; the low and high budget project categories; and the peer-to-peer voting. And that’s without even mentioning the exciting interactive element of the planned darc night in September. So take a look at www.darcawards.com, start submitting your work and give us plenty of feedback. We’re listening.

your work and give us plenty of feedback. We’re listening. Helen Fletcher, deputy editor, writes: It’s
your work and give us plenty of feedback. We’re listening. Helen Fletcher, deputy editor, writes: It’s

Helen Fletcher, deputy editor, writes: It’s been a busy couple of months at the mondo*arc offices with the team juggling the Feb/March issue; the 2015 ILDS; preparing for the darc awards launch

party; and a day out to the printers (Blue Peter style) in Buxton

and all with Christmas festivities

slap bang in the middle! But we’ve survived to tell the tale and as this is my first ‘proper issue’ I can safely say I’ve enjoyed every last minute of it. We’ve covered some great projects in this issue, with personal favourites including the IZB Residence in Munich (pg.74) and Chifley Tower in Sydney (pg.62). We also have some beautiful lighting installations covered in our Spotlight pages (starting on pg.36), all of which have been handled by our very first intern, Femke. She’s been beavering away for the past few months learning the ropes of journalism, but the time has sadly come for us to say our goodbyes and wish her well in her career. Some of you will have had the pleasure of meeting Femke at the darc awards launch party held at the beautiful Dilston Grove in London. What a wonderful backdrop to a great event (even if hats, scarves and mulled wine were required). It was brilliant to see so many lighting designers venture out to support us and I’m looking forward to some exciting times ahead!

Editorial

Editor Paul James (p.james@mondiale.co.uk)

Deputy Editor Helen Fletcher (h.fletcher@mondiale.co.uk)

Editorial Assistant Rob Leeming (r.leeming@mondiale.co.uk)

Editorial Intern

Femke Gow

Advertising

Advertising Manager Jason Pennington (j.pennington@mondiale.co.uk)

Advertising Sales Executive John-Paul Etchells (jp.etchells@mondiale.co.uk)

Amy Wright (a.wright@mondiale.co.uk)

Production

David Bell (d.bell@mondiale.co.uk)

Mel Robinson (m.robinson@mondiale.co.uk)

Dan Seaton (d.seaton@mondiale.co.uk)

Chairman

Damian Walsh (d.walsh@mondiale.co.uk)

Amanda Giles (a.giles@mondiale.co.uk)

Donna Barlow (d.barlow@mondiale.co.uk)

C re dit Control Donna Barlow (d.barlow@mondiale.co.uk) mondo*arc magazine ltd Waterloo Place Watson Square Sto

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Subscription records are maintained at Waterloo Place, Watson Square, Stockport, Cheshire, SK1 3AZ.

Spatial Ltd is acting as our mailing agent.

024

DETAILS

[postcard]

The two paragons of cool, Factorylux and Light Collective, have teamed up to release a series of natural light in architecture cards, exclusively available through mondo*arc and its sister title darc. Each issue, Light Collective will explain the reason for their choice and then, inserted in each edition, will be a limited edition print.

#4 James Turrell’s Skyspace

You can’t have a series about natural

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light light without without including in James Turrell so of

course course he he made made our list with the Skyspace

installation installation concept. con It is said (apparently)

that that you you never never forget your first Skyspace

and and that’s that’s certainly certa true for Light Collective.

For For Martin, Martin, it it was w the Space That Sees at the

Museum Museum of of Israel Isra and for Sharon, the Deer

Shelter Shelter Skyspace Skyspac at the highly acclaimed

Yorkshire Yorkshire Sculpture Sculp Park.

Turrell Skyspace is a specifically

proportioned proportioned chamber ch with an aperture

in in the the ceiling ceiling open o to the sky (a bit like

a a contemporar contemporary Pantheon). Skyspaces

can can be be both both a autonomous structures or

integrated integrated i into existing architecture.

The The Skyspa Skyspace’s dominant feature is the

circular, circular, e elliptical, or square aperture

at at the the to top of the room allowing

skylight skylight or the night sky to be viewed

withou without peripheral distraction.

From From the inside of the structure,

the the v viewer’s point of view is

focu focused upwards and inevitably

lur lured into contemplating the

sk sky as framed by the open

r roof and the installations are somewhere between

in indoor and outdoor as well

are somewhere between in indoor and outdoor as well as as between between fantasy and reality.

as as between between fantasy and reality. There

jamesturrell.com/artworks/by-type/#type-

© Corbis

* Missing your Factorylux limited edition card? Then contact hello@urbancottageindustries.com for a replacement.

The image used for this month’s postcard

is from the house of Jim Goldstein in

Los Angeles. The house was designed by architect John Lautner in 1963 and this Skyspace is a free standing concrete room built into the hillside and titled ‘Above Horizon’. The Skyspace has two openings:

the central oculus, and the corner window. The room is pre- programmed by Turrell for shows at dawn and dusk and houses 5,000 LEDs that are not directly visible by viewers. When the LEDs are activated they

wash the room with abundance of coloured light amplified by the smooth white plaster finished walls. The preprogrammed lighting runs through a slow transitioning colour sequence centring on the view of the sky. Turrell has always embraced the fluidity of light in nature in his work and constructed his first skyspace in 1986 in the parking lot of MOCA’s Geffen Temporary Contemporary. There were no LEDs, just tungsten lamps carefully placed behind wood benches. This meant the sky, seen through a square opening in the roof, was mostly blue but still changed. Many Skyspaces are commissioned by museums; others are commissioned for private art collections. Each one is created for a specific location. Turrell questions what exactly the collector is getting: “When somebody buys a work of mine there is the question, what is it they own? And in some way I can honestly say that you own the light that is passing through.” Turrell’s titles for these spaces are not arbitrary and are inspired from his childhood experience. Raised as a Quaker, the Skyspaces are meant to evoke the quiet, even metaphysical private space of a Quaker meeting with the wooden bench seating that is often included within the Skyspace interior, similar to those of his childhood memories. Turrell recalls how his grandmother used to advise him to “go inside and greet the light.” Half way through the series and we are going you a chance to nominate the final building that Factorylux will make into a

beautiful print like this one that goes out to all mondo* arc readers. Fill in and return the postcard for your suggestion to be considered or talk to us via #MondoCards if you want to pick up the conversation online.

www.urbancottageindustries.com/factorylux

www.lightcollective.net

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www.havells-sylvania.com BEACON XL OUTSTANDING FIXTURE LUMEN OUTPUT Beacon XL is the latest edition to Concord’s

BEACON XL

OUTSTANDING FIXTURE LUMEN OUTPUT

Beacon XL is the latest edition to Concord’s award-winning Beacon family. This impressive LED spotlight pushes the boundaries of technology to provide up to 3300 fixture lumens at 42W. Designed specifically for shop and display applications, the stylish Beacon XL replaces CMI-T (HID) luminaires and delivers a CRI of 85 (CRI 97 upon request). Available in white and black, track (L1 / L3) and surface mounted options – 3000K or 4000K, 12° narrow, 25° medium and 50° wide beam angle versions. Beacon XL is also available in non-dimmable, on-board dimming and DALI dimming models.

and 50° wide beam angle versions. Beacon XL is also available in non-dimmable, on-board dimming and

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DETAILS

news headlines

For the latest news stories, head online: www.mondoarc.com

Novo Nordisk headquarters wins Danish Lighting award

(Denmark) - Novo Nordisk’s new headquarters in Bagsværd has won the 2014 Danish Lighting Award.

Read the full story online

mondo*arc india to launch in March

(India) - New quality publication for designers and specifiers in India - joint venture between creative lighting company STIR and publishers of mondo*arc and darc.

Read the full story online

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Whitegoods appoints new Sales and Marketing Director

(UK) - Whitegoods Lighting appoints Christopher Burridge as Sales & Marketing Director.

Read the full story online

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4

Lamp 83 expands

(Turkey) - Istanbul-based lighting manufacturer continues operations in new facility.

Read the full story online

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International Lighting Design Survey reveals growing profession

(International) - ILDS reveals almost 1,300 lighting design practices now operating throughout the world.

Read the full story online

Design LED expands senior management team

(UK) - Following investment from Ikea Greentech, Wolfgang Andorfer joins Design LED as Chief Sales and Marketing Officer.

Read the full story online

darc night launch party takes place

(UK) - International lighting design darc awards is launched by mondo*arc and darc magazines.

Read the full story online

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scan QR code to link to the latest news online
scan QR code to link to
the latest news online

In pictures

1 Novo Nordisk campus is featured from page 54. 2 mondo*arc india to launch in March. 3 Christopher Burridge. 4 Lamp 83’s new facility. 5 International Lighting Design Survey

LIGHT IN NEW DIMENSIONS LUCE VERDE SLIM Harmony of light and nature Our LUCE VERDE

LIGHT IN NEW DIMENSIONS

LUCE VERDE SLIM

Harmony of light and nature

Our LUCE VERDE series provides a glimpse of nature and an atmosphere of well-being. This is achieved due to its structural surface, the luscious green and natural feel of the moss integrated within the gentle LED ring luminaires. The moss provided by art aqua is highly durable and does not need to be maintained. The gentle softness and characteristic feel allows these large- dimensioned luminaries to speak to all our senses and simultaneously improve the room acoustics.

our senses and simultaneously improve the room acoustics. Pendant light Pendant light Wall lamp Ø 1300
our senses and simultaneously improve the room acoustics. Pendant light Pendant light Wall lamp Ø 1300

Pendant light

Pendant light

Wall lamp

Ø 1300 mm

with canopy

51.2“

www.sattler-lighting.com

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DETAILS

[darc awards]

mondo*arc and darc magazines, in collaboration with Light Collective, launched their new international lighting design awards at their darc night event in London on February 5th.

at their darc night event in London on February 5th. Pic: Caroline Sterzi Pic: Gavriil Papadiotis
Pic: Caroline Sterzi
Pic: Caroline Sterzi
night event in London on February 5th. Pic: Caroline Sterzi Pic: Gavriil Papadiotis darc night, the
Pic: Gavriil Papadiotis
Pic: Gavriil Papadiotis
February 5th. Pic: Caroline Sterzi Pic: Gavriil Papadiotis darc night, the launch party for the darc

darc night, the launch party for the darc awards, took place on February 5th at Dilston Grove in Southwark Park, Bermondsey, London and featured a special lighting scheme by Light Collective using fittings from the darc awards commercial partners. A Dark Source animation and exhibition by Kerem Asfuroglu of Speirs + Major also featured. Over 150 designers and partners attended the event. Paul James, awards director and publishing editor of mondo*arc and darc, gave a presentation explaining the awards programme and darc night concept. “With our database of over 1,000 international lighting design practices, as well as interior designers and architects, there is a unique opportunity for every

practice to get involved in the awards process,” commented James. “We intend to make the darc awards the most accessible and global awards programme ever. After the shortlists have been chosen by an expert panel of international lighting designers, each of the 1,000+ lighting design practices and their designers will be invited to vote on their favourite projects via our specially developed website. Using the model developed by the Oscars where all members vote on the work of their peers, the darc awards will give every designer a vote, making this the only truly peer-to-peer lighting design awards in the world.” Each award will be split into low and high budgets, thus allowing the smaller projects a chance to compete and not just given a

token ‘Special Projects’ award. Martin Lupton and Sharon Stammers of Light Collective are excited by the prospect of a pluralistic awards event: “Having been involved in many lighting awards programs over many years, this is a great opportunity to build on all of those experiences and try to create a different version of celebrating the best of lighting design where the judging is in the hands of everybody. Helping to shape darc night in collaboration with mondo*arc and darc has given us a chance to create an awards ceremony that is by the people, for the people – it’s the Oscars of lighting design!” All the projects and the companies who have submitted them will be present on the website so that, over time,

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029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by

partners

029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by
029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by
029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by
029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by
029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by
029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by
029 partners www.darcawards.com will become a comprehensive online lighting design resource that can be used by

www.darcawards.com will become a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration. There will also be product categories (two architectural and one decorative) that will follow the same philosophy resulting in a comprehensive online database of products. Following the voting process the awards ceremony will take place as part of darc night in September 2015. This will be an atmospheric party in a unique venue in London. Imagine light art, street food, lighting installations… this breaks all the awards rules and will be unlike any other awards ceremony to date. Each commercial partner will be able to show off the capabilities of their product

via a series of light installations from collaborations with lighting designers. Currently the manufacturer partners consist of Lucent, Megaman, Innermost, LSE Lighting, KKDC, Concord, L&L Luce&Light and Reggiani. A maximum of twelve partners will be involved in order to create a dozen inspiration spaces at the specially selected venue in London next September. darc night will be part of the IYL2015 (International Year of Light and Light-based Technologies 2015 ) related activities program and will be promoted by the L-RO (Lighting-Related Organizations) to raise awareness for the lighting design profession and showcase the importance and beauty of light. www.darcawards.com

Previous page Light Collective created a stunning lighting scheme using Megaman’s Dim to Warm LED lamps as a chandelier, Arturo Alvarez V floor standing lamps (supplied by LSE Lighting) and Reggiani’s Rios spotlights shining through the windows. The Dilston Grove arts venue used to be a chapel.

This page All the commercial sponsors were represented among the 150-strong crowd. Kerem Asfuroglu exhibited his Dark Source artwork as well as showing an animated film.

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DETAILS

DETAILS

030 DETAILS DETAILS eye opener Flylight, Studio Drift, Het Noordbrabants Museum, The Netherlands This year marks

eye opener

Flylight, Studio Drift, Het Noordbrabants Museum, The Netherlands

This year marks the 125th anniversary of Dutch painter Vincent van Gogh’s death. In memory
This year marks the 125th anniversary of Dutch painter Vincent van Gogh’s
death. In memory of the artist, Het Noordbrabant’s Museum in the Netherlands
displayed Studio Drift’s Flylight exhibition curated by Yksi Ontwerp.
Flylight is a site-specific light installation that directly interacts with its
surroundings. It consists of delicate glass tubes that light up in an unpredictable
way. The light sculpture mimicks the behaviour of a flock of birds in
flight, symbolising the conflict between the safeness of the group and the
freedom of the individual.
While birds are the ultimate symbol of freedom, in a flock they move as one
single entity, creating mesmerising patterns. This flock behaviour is an example
of self-organisation, meaning that no single bird leads the flight. Amazingly
enough, each individual senses the speed and the direction of the group.
Flylight translates this flock behaviour into specially developed agent-based
software, meaning the patterns in which the installation lights up are not
pre-programmed, but have an interactive compound like a real flock of birds.
Nature was van Gogh’s and Studio Drift’s dominant source of inspiration and
forms a guide through the exhibition that will be on view until April.
www.studiodrift.com
source of inspiration and forms a guide through the exhibition that will be on view until
source of inspiration and forms a guide through the exhibition that will be on view until

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DETAILS

[drawing board]

The latest exciting works in progress from the world’s most imaginative designers.

in progress from the world’s most imaginative designers. SAN ZERO A.C. Milan and Arup have presented

SAN ZERO

A.C. Milan and Arup have presented their expression of interest for the redevelopment of a central area in Milan to host the new A.C. Milan stadium. The innovative venue will include a modern stage for the home matches of the club together with a hotel, a sports college, restaurants, children’s playground, green areas and spaces open to the city and dedicated to public use. The project, developed by Arup’s architecture, urban planning and engineering team in Milan will include lighting design. The new stadium will also provide a unique experience to the spectators, with particular attention towards families, with cutting edge technologies and facilities. The project has been developed with a fully holistic and integrated approach where all the design components have been carefully balanced around the spectator’s experience. Some of these innovative components include sight-lines analysed and designed for every seat and developed by an Arup parametric tool that guarantees

and developed by an Arup parametric tool that guarantees the best possible view from every location

the best possible view from every location in the stadium; high-tech solutions that will enhance the spectators’ experience before, during and after the matches; and special VIP facilities with lounges and spaces with a direct view on the mixed-zone and on the route from the athletes’ changing rooms to the pitch. www.arup.com

SILENT FLYING OBJECT UFO: FUTURISTIC LIGHTING SYSTEM WITH SOUND-PROOFING AT HEART. Creative sphericity. UFO opens

SILENT FLYING

OBJECT

UFO: FUTURISTIC LIGHTING SYSTEM WITH SOUND-PROOFING AT HEART.

Creative sphericity. UFO opens up undreamt of possibilities to create exceptional lighting. The components of this lighting system can be freely combined with each other, allowing for limitless creativity, and can also be combined with sound-proofing elements.

NG

with each other, allowing for limitless creativity, and can also be combined with sound-proofing elements. NG
with each other, allowing for limitless creativity, and can also be combined with sound-proofing elements. NG

WWW.XAL.COM

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DETAILS

[drawing board]
[drawing board]
034 DETAILS [drawing board] ELEKTRAFYING DESIGN Marriott Hotel Victoria Island in Lagos, Nigeria is a new

ELEKTRAFYING DESIGN

Marriott Hotel Victoria Island in Lagos, Nigeria is a new development that celebrates the clean lines of modern, contemporary design. Due to open in December 2016, the lighting concept by Elektra Lighting has been based on an interior design scheme developed by RPW Design and the architects from G1 Architecture. The lighting scheme enhances that approach

throughout the public areas with a clean, simple and minimal design, without fuss. Luminaires are concealed where possible; where it is not, minimal light fittings create atmosphere without drawing attention to themselves. The lighting is warm and pleasing to the eye, with a bright and inviting atmosphere to welcome guests during the day. The evening will see the colour temperature

during the day. The evening will see the colour temperature drop to a more relaxed candlelight
during the day. The evening will see the colour temperature drop to a more relaxed candlelight

drop to a more relaxed candlelight tone. The lighting will enhance the space, and complement the architecture and interior design. The landscape design, created by the Gillespies design practise, features a flattering lighting scheme to accentuate the design and enhance it, especially after the natural sun light hides beyond the horizon. www.elektralighting.co.uk

BP4, Canary Wharf, London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard

London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk
London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard www.kkdc.co.uk

www.kkdc.co.uk

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DETAILS

[spotlight]

The latest projects with the wow factor from around the world.

Pics: James Brittain
Pics: James Brittain
the wow factor from around the world. Pics: James Brittain PLAYING IN COLOUR Toronto-based architectural firm
the wow factor from around the world. Pics: James Brittain PLAYING IN COLOUR Toronto-based architectural firm

PLAYING IN COLOUR

Toronto-based architectural firm RAW transformed downtown Montreal into an interactive kaleidoscope with its Prismatica installation at the Quartier des Spectacles. Comprising 50 pivoting prisms, each more than two metres tall, Prismatica is one of two installations selected by the juries of the fifth annual Luminothérapie, a high- tech public art exhibition that displays artists’ and architects’ outdoor creations. Luminothérapie lets local designers, artists and architects build novel outdoor creations as part of Montreal’s inclusion as a UNESCO City of Design. The exhibition came in two parts: a field of light and music running the

length of Place des Festivals along Jeanne- Mance Street; and an animated projection series that were played as a game on the facades of seven buildings in the Quartier des Spectacle. RAW’s involvement marked the first firm based outside of Quebec to participate in the competition. For Prismatica, RAW assembled a team of professionals from ap- plied science, technology, art and architec- ture fields to create the display. The prisms, made of panels laminated with a dichronic film, transmit and reflect every colour in the visible spectrum, varying with the po- sition of the light source and the observer.

Mounted on bases containing projectors, as visitors wander among and manipulate the prisms, they enjoy an interplay of light and colourful reflections. For added affect, as the prisms rotate, a variable-intensity soundtrack comprised of bell sounds plays. Prismatica invited people “to play, to have fun and in doing so, forget about the cold,” said RAW Director Roland Rom Colthoff. “Luminotherapie is a great event that cel- ebrates lively public space on a large scale and speaks for the passion of design found in a city like Montreal.” www.quartierdesspectacles.com www.rawdesign.ca

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Pics: Joel Chester
Pics: Joel Chester
037 Pics: Joel Chester IMMERSION CUBE Aeolian Light , an outdoor exhibition held at the Lowry

IMMERSION CUBE

Aeolian Light, an outdoor exhibition held at the Lowry Theatre, Salford Quays, was an il- lustration of visual energy fields and objects carried on the wind as they floated through space occupied by lights. The idea was that people could also move through the space, causing eddies and disturbances, and in turn affect the light installation. A project by creative designers Squidsoup, commissioned by Quays Culture and Uni- versity of Salford, Aeolian Light developed from existing research project Ocean of Light, which looked into the creative possibilities of 3D arrays of individually addressable lights to create presence and movement in physical space. The earliest of these projects used a one-metre system developed in Zurich called NOVA. Squidsoup wanted to take this existing system but alter it so people could walk within the cubes and be surrounded by the lights. The project gradually developed into Aeolian Light, an entirely weatherproof interactive system using 12,096 RGB LEDs suspended in strands, each containing 21 points of light with 72 DMX universes - with each one controlling eight LED strands. Aeolian Lights tracked people using a SICK laser scanner with infrared light to detect movement so the visuals flowing through the lights travelled in the same direction as the wind. Working with wet weather and trials with unfamiliar technology as major setbacks, Squidsoup created something that could not only be viewed from a distance by its audience but could entirely envelop people in a floating cube of light and colour. www.squidsoup.org

a distance by its audience but could entirely envelop people in a floating cube of light

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DETAILS

[spotlight] Pics: Iwaan Baan
[spotlight]
Pics: Iwaan Baan
038 DETAILS [spotlight] Pics: Iwaan Baan COSMIC CONTACT Art museum and cultural centre Foundation Louis Vuitton

COSMIC CONTACT

Art museum and cultural centre Foundation Louis Vuitton (FLV) launched the second phase of its inaugural program with inter- nationally renowned Danish-Icelandic artist Olafur Eliasson’s Contact exhibition in Paris. Designed by Canadian architect Frank Geh- ry, the museum itself contains its gallery spaces in cement blocks covered by curved pieces of glass. Having served a cosmic pur- pose for Eliasson’s first solo show in France since 2002, this latest exhibition, Con- tact enveloped the museum’s visitors in a choreography of moving light and shadows, transporting them into a simulation of the darkness of outer space. The route through the exhibition, revolv- ing around two large-scale installations, is derived from the geometry of the circle. By bringing viewers into ‘contact’ with a meteorite, the exhibition begins with a

gesture intended by the artist to expand the horizons of imagination. Firstly, Map for Unthought Thoughts takes viewers to the centre of a semi-circle that is extended to full circumference by a mirror. Covered with black sandpaper, the passageway arouses physical sensations of disorientation and confinement. Then, entering Contact (also the title of the exhibition), visitors move on the sloping floor as if traversing the top of a sphere or planet. The journey concludes with Big Bang Foun- tain, an apparatus that reveales periodic liquid flashes - referring back to Parallax Planet, a piece which already established a form of ‘contact’ with water by way of an optical device at the start of the exhibition. Finally, outside, World Illuminator uses a sun-tracker installed above the upper shell

of the building to direct rays of light onto the sphere Dust Particle - a multifacet- ed, geometric sculpture suspended within the building to immerse the visitors in a multi-sensorial experience. This in turn reflects speckles of light into the hall. This unity of interior and exterior testifies the relationship between humankind and the universe - reiterating the exhibition’s central theme. This theme, and that of other cosmic projects exhibited in the gallery, is echoed in the architecture of the museum as the Foundation Louis Vuitton structure gives the impression of something continually chang- ing with time and light, much like Eliasson’s expansive exploration of perception and space. www.olafureliasson.net www.fondationlouisvuitton.fr

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DETAILS

[spotlight]
[spotlight]

SOVIET SWEDEN

Kate Wilkins, of lighting designer collabora- tive Kate and Sam, has joined musician Matt Johnson (The The) and visual artist and film maker Johanna St Michaels to create The Inertia Variations, a new light and sound sculpture in Gothenburg. Inspired by the Soviet-era Sukhov radio tow- er in Moscow, the nine-metre-high sculp- tural mesh of illuminated strands on the roof of Gothenburg’s Röda Sten Konsthall, evokes propaganda tools used by dictators and revolutionaries to resemble creative and communicative struggles. A subsequent stage moves the tower inside the gallery, where the viewer is immersed in narration, soundscapes and music. Wilkins described the project: “I’m fasci- nated by using light’s influence on mood and perception, and in this first stage we reveal the inner surfaces only, in a white with all warmth filtered out. The tower looks as we had hoped, and very striking in Gothenburg’s docks skyline.” The Inertia Variations is the latest in a se- ries of art-led side projects for Wilkins, her previous credits including the opening of Tate Modern in 2000 and the British Pavilion at the Shanghai Expo in 2010. www.katewilkins.com www.thethe.com

SERPENTINE GAMES

The first major UK exhibition by Argentini- an artist Julio Le Parc sees the Serpentine Sackler transformed with immersive light installations and the artist’s signature inter- active games. Known for creating artworks that animate and transform space through light and using projected, moving, and reflected light to create works of art in constant flux, Le Parc’s playful exhibition transforms the gallery and actively involves visitors. At the heart of his practice is a desire to experi- ment with our engagement and perception of art, thereby altering our perspective on the roles of the artist, spectator and the in- stitution. Through his experimentation with light, Le Parc creates a situation of visual instability, in the work and in the viewer’s experience. The visitor’s participation in the exhibition is both passive and active, with the design reminiscent of an amusement arcade and its numerous booths. While Le Parc’s light installations offer an immersive experience, his interactive ‘game’ works become a place for activity. www.serpentinegalleries.org www.julioleparc.org

Pic: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015)
Pic: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015)
Image © Sylvain Deleu
(25 November 2014-15 Februrary 2015) Image © Sylvain Deleu Pics: Julio Le Parc - installation view,
(25 November 2014-15 Februrary 2015) Image © Sylvain Deleu Pics: Julio Le Parc - installation view,

Pics: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015) Images © READS 2015

lucent /ˈluːs(ə)nt /

adjective literary

glowing with or giving off light. ‘the moon was lucent in the background’

off light. ‘the moon was lucent in the background’ ProSpex ® Axis A range of recessed

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— Available in both trim and trimless versions

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Product shown ProSpex Axis Midi Trimless with Long Snoot
Product shown ProSpex Axis Midi Trimless with Long Snoot
Product shown ProSpex Axis Midi Trimless with Long Snoot

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DETAILS

[briefing]

ROGIER VAN DER HEIDE

We speak to the the new Head of Design and Marketing at the Zumtobel Group following his move from Philips.

Why did you move from Philips to Zumtobel? When I joined Philips it was an interesting moment in time because of the shift in lighting technology and the decisions that meant for a huge business like them. I had a great time but I wanted to work with a 100% lighting company. There are other lighting companies of course but Zumtobel has always been involved in application working closely with architects and lighting designers. I’m a lighting designer so this appealed to me. I’ve known the Zumtobel family for quite a while and we have had discussions in the past but there was always something getting in the way. Now was the right time.

What is your role at the Zumtobel Group?

My role (Head of Design and Marketing) is a very influential one, heading

a small group of passionate people to drive the company forward. We

are in a process of transformation. Based from what I saw at Light + Building we have some catching up to do. Ulrich Schumacher came on

board as CEO just over a year ago and it’s his goal to make Zumtobel healthy and fit for a future that is faster. There will be an interaction between my creative vision and what we structure in our programmes to develop a cohesive portfolio of innovative products. The focus on LED by most of the lighting industry has been energy savings. Most of the big companies haven’t thought about what we can do with LED that we weren’t able to do before if we combine it with other technologies. That

is starting to happen now and I want to be at the centre of that.

Do you have any specific goals for the Zumtobel Group brands? I want to create an ecosystem rather than treat the three main brands (Zumtobel, Thorn and Tridonic) as separate entities. The approach to the market of the three brands has always been very different but by working closer together we have an ideal opportunity to give the market what it wants by simplifying the whole process. We are working on ideas but it would be great if every Thorn product had really intelligent, connected light for example. Why not? It doesn’t have to be just the really high end brands that have this. Why can’t Zumtobel have beautiful, aesthetic exterior products? There are no reasons why. I can’t tell you it will definitely happen but it’s a wish of mine.

Will you continue to work with architects and designers to develop products? Yes, we will but we will also work with new talent, both from architecture and other disciplines, to come up with

a new road map of ideas.

It’s easy to hire a famous architect to design a product, pay a fee and then it gets specified on a few of their projects. But it’s not enough. We need to build relationships in which the continuous exchange of ideas gets established. For that you need to show your passion. Many large lighting companies fail to make real choices. They try to

cover everything, they have huge complex catalogues but it’s too much for architects who have to think about every element of the building. Of course we still need catalogues but we should be talking with architects and others to create real lighting solutions, to make catalogues more relevant.

Will the policy of supporting lighting designers on projects continue? Yes, we will always support lighting designers on projects where they are involved. But of course in some markets there are no lighting designers and in this case we can offer a service that includes lighting design. This doesn’t compromise lighting designers. On the contrary, everything we do at a high level grows the market for all. Lighting designers benefit the more great lighting design is out there. The reaction from lighting designers when the news came out that I was joining Zumtobel has been very positive. There’s a lot of love out there for Zumtobel!

Why is Zumtobel opening a Lichtforum in Amsterdam? Unlike previous Lichtforums, it will be a centre for experimentation. The great architects and designers from the past like Frank Lloyd Wright, Charles and Ray Eames were not scared to experiment with materials to create and I think we need to be like this with light. We have to create lighting solutions with experts from other disciplines like the arts, science, healthcare or behavioural psychology or even app developers to drive a programme of innovation. I want to make smart lighting that is more holistically connected than just the driver and the lamp. I want to connect to the rest of the world. I have no idea how to do that yet but I want to find a way.

Why specifically Amsterdam? It’s nothing to do with the fact that I live here! The language and travel connection advantages are obvious but Amsterdam is so creative in design, architecture and technology, with a lot of great talent. Many great architects are based in the Netherlands like Mecanoo, MVRDV, UNStudio, OMA etc. Hi-tech companies like Cisco, Google, Microsoft and IBM have their European headquarters here. They are all now looking at lighting and I am very interested in working with them. They don’t care about the mechanics of manufacturing lamps but they can bring some fresh ideas to the debate. Everyone at Zumtobel cares passionately about lighting and we can bring our expertise to the table.

You had some time between leaving Philips and joining Zumtobel. What did you get up to? I was busy! I went back to my roots and did some small lighting design projects. I also had more time to dedicate to this year’s Amsterdam Light Festival (I’m the founder) which was very rewarding. And I am involved in a documentary film about light based on a theatre production of Prometheus: The Poem of Fire by Alexander Scriabin that I’m working on. Scriabin composed the piece about light in 1910 when electric light had just been invented. There have been several productions of it when lighting has been involved but this will have a modern, fully immersive lighting interpretation. It will be shown here in Amsterdam in December this year for the International Year of Light. www.rogiervanderheide.com www.zumtobel.com

out of darcness comes light

welcome

to darc night

a unique international decorative and architectural lighting awards concept and event from

featuring

member of

lighting awards concept and event from featuring member of partners entries now being accepted on www.darcawards.com
lighting awards concept and event from featuring member of partners entries now being accepted on www.darcawards.com

partners

lighting awards concept and event from featuring member of partners entries now being accepted on www.darcawards.com
lighting awards concept and event from featuring member of partners entries now being accepted on www.darcawards.com
lighting awards concept and event from featuring member of partners entries now being accepted on www.darcawards.com

entries now being accepted on www.darcawards.com

044

DETAILS

[snapshot]

Paul Pamboukin has over 30 years experience working with light. He cut his teeth in the theatre and was Chief Lighting Designer at the State Theatre in Pretoria before moving to event lighting and then establishing Pamboukian lightdesign in 1990.

and then establishing Pamboukian lightdesign in 1990. ALICE LANE HEALTH CLUB, JOHANNESBURG CLIENT: VIRGIN ACTIVE
and then establishing Pamboukian lightdesign in 1990. ALICE LANE HEALTH CLUB, JOHANNESBURG CLIENT: VIRGIN ACTIVE
and then establishing Pamboukian lightdesign in 1990. ALICE LANE HEALTH CLUB, JOHANNESBURG CLIENT: VIRGIN ACTIVE

ALICE LANE HEALTH CLUB, JOHANNESBURG

CLIENT: VIRGIN ACTIVE GROUP

Alice Lane is the first in a new breed of exclusive health clubs from Virgin Active. Gone are the downlights and factory aesthetics and in arrives mood lighting and a warm atmosphere. The red, off-centre stairs detract attention from the cosy lounge space behind, while the cove-like speckled sitting room offers personal lounge areas and individual interior luminaries add definition to the lounge atmosphere. Much of the lighting is bespoke design - luminaires are floating disks and panels with differing colour temperatures in different areas, used to not only demarcate the various activity zones but complement different activities in an appropriate ambience. Profile spotlights cast gobo dots onto the off- shuttered ceiling above the pool and red LEDs in the handrail define the edge of each step of the glossy staircase. Above, seemingly floating irregular amorphic mirror disks mingle the reflections from below, with the reflected light from the different exercise areas announcing each space on the upper floor. Scattered custom-made circular incandescent coloured discs contrast with the matt black concrete roof structure lined with service conduits to give mood over the open plan cardio area. By contrast the muscle toning area is lit with lines of cold white LED panels. Windowless glazed boxes against the interior walls for body and mind work appear spacious and intimate. The wide bands of LED lighting from floor to floor are graphically decorative and functional. Fully programmable, RGB colour control allows instructors to set the mood for their specific session.

FIREWALKER, JOHANNESBURG

ARTISTS: WILLIAM KENTRIDGE AND GERHARD MARX CLIENT: CITY OF JOHANNESBURG

As part of a public art programme, artist William Kentridge and sculptor Gerhard Marx coneptualised ‘Firewalker’, a three- dimensional object. Moving around what looks like a puzzle of a sculpture, viewed from one of two specific points, the piece resolves into two different images. Carrying hot coals on her head, the Firewalker is seen north while the miner can be seen from the south. To ensure no shadows were created and the images weren’t distorted by blending of the black panels, the piece is lit accordingly. To achieve this, three metal halide projectors illuminate the sculpture from the front and it is backlit with a metal halide blue projector.

metal halide projectors illuminate the sculpture from the front and it is backlit with a metal
metal halide projectors illuminate the sculpture from the front and it is backlit with a metal

045

SOUTHPOINT PROPERTIES, BRAAMFONTEIN

ARCHITECTS: SILVIO RECH AND LESLEY CARSTENS

Southpoint Properties’ lighting concept underscores the open white glass box building with controlled splodges of fun, brightly coloured, furniture; underlining its minimalist feel through a basic rational graphic statement. Using a single light source for general lighting, the fluorescent tube is applied as a standard 28W open channel tube light and a 40W circline, with the directional linear spacing of the suspended tracks and rhythmic positioning based on photometric calculations. The cool white light on all floors is broken by warm accent light over areas that require a more intimate atmosphere. The ground floor coffee bar has a raft of 60 spun lampshades with 5W CFL’s clustered together, suspended at the same height to mirror the counter. Above the customer relations lounge custom-made pendants with oversized glare-free reflectors create their own ceiling. The same pendants with additional 50W downlights illuminate the table featured in the orange glazed meeting room. The multiple fittings work to complement the architectural aesthetics.

fittings work to complement the architectural aesthetics. HILTON WINDHOEK, NAMIBIA CLIENT: UNITED AFRICA GROUP
fittings work to complement the architectural aesthetics. HILTON WINDHOEK, NAMIBIA CLIENT: UNITED AFRICA GROUP
fittings work to complement the architectural aesthetics. HILTON WINDHOEK, NAMIBIA CLIENT: UNITED AFRICA GROUP

HILTON WINDHOEK, NAMIBIA

CLIENT: UNITED AFRICA GROUP ARCHITECTS: WASSERFALL MUNTIN, WINDHOEK AND MARTIN KRUGER

The hotel’s lighting features a glass pendant chandelier, lit with blue and white LEDs mimicking rain falling in the hotel’s double volume concierge, while 1,000 suspended diamond-like glass crystals lit by recessed RGB LED downlights are programmed to project warm amber colours before fading through to greens, blues and midnight blue. In the hotel foyer red light randomly appears and disappears with the movement of the lifts. LED strips placed in the underside of each tread create a soft warm light up the staircase, while a gentle strip wash from a narrow band of LEDs light the carpets. Bedrooms are entered through a wall of warm light using full-length light boxes, while headboards use light boxes with low bright LEDs that fade down.

use light boxes with low bright LEDs that fade down. PAMBOUKIAN LIGHTDESIGN • DIRECTOR: Paul Pamboukian

PAMBOUKIAN LIGHTDESIGN

• DIRECTOR: Paul Pamboukian • HEAD OFFICE: Johannesburg, South Africa • SATELLITE OFFICES: New York and Zurich • ESTABLISHED: 1990 • EMPLOYEES: Six • CURRENT PROJECTS: Alice Lane High-rise Precinct, Johannesburg; Discovery Concept Store, Cape Town; Eastgate Mall, Johannesburg; Falcons Sculpture, Yas Island Abu Dhabi; Holocaust and Genocide Museum, Johannesburg; Hotel on Garapan Island, China; Le Chaland Resort, Mauritius; Mandela Museum, Johannesburg; Menlyn Maine Central Square, Pretoria; PAIH Office Building, Nairobi; Regent Hotel, Doha; Steyn City Mixed Use Development, Johannesburg

www.ppald.com

046

DETAILS

[lighting talk]

This issue we talk to Jennifer Hamilton, founder of interior design practice The Vawdrey House.

COULD YOU TELL ME

Tunbridge Wells [2]
Tunbridge Wells [2]

…what made you become an interior designer?

I am one of those lucky people who is actually doing what they

wanted to do from about age 12

always enjoyed making the environment around me better and used to lie awake at night redesigning friends’ houses. I’ve now actually designed many of them in reality – for example our Addison Gardens project is the house of an old school friend. I am also a perfectionist and a bit of a control freak – I think those are actually good qualities

for an interior designer – it means I can’t stop until I feel the client is

happy!

old house we extended in

and looks great with

antique brass swan necks imitating the old gas lamps. In more modern spaces, I love the way concealed lighting adds an

and is still loving it! I have

Brook Green
Brook Green

ethereal glow lighting adds an and is still loving it! I have Brook Green like this library space

like this library space for a house in

about the best and worst illuminated spaces you have visited? There is a pub in my home town which has just spent a fortune refitting itself – we waited eagerly for the result, hoping this would be a lovely cosy gastro pub for a family Sunday lunch. But no despite a selection of Farrow & Ball paints and a huge array of different and not totally awful light fittings, which I imagine on paper would have looked like a design-led approach, I think that the heights are all wrong, and everything is too bright and cold. During the day there is no atmosphere at all, and at night it’s like sitting in the middle of an empty front room with the curtains open and the ‘big light’ on. Also, surprisingly a lot of hairdressers have awful lighting with sharp spotlights right over your head, leaving horrible shadows under the eyes. On a more positive note, I love cosy low-ceilinged pubs with log fires and candles. The Talbot in Somerset has it just

right in their bar

how important is lighting to your designs? Lighting is crucial. It doesn’t matter what you do with a space, if the lighting isn’t right - or the effect of the daylight upon the colours and materials used - it won’t be as good as it should be. I love atmospheric lighting, which conjures up a mood rather than a task, and I like a space to feel a certain way, whether that is bright and breezy or dark and moody. I don’t like bland.

why is spending time thinking about and working with light important to you? After many years in commercial design at MoreySmith, where we, as

the designer, were generally in control when it came to the lighting,

I am finding that lighting for residential projects is more subjective.

What I think is the best lighting effect or level does not necessarily suit the client - some people like bright houses, some people (like me) err towards dramatic gloom! So, part of my job is to discover the preferences of each client and tailor the lighting to them, while still making the design work as a whole.

about the role lighting plays in the light of the city? How do you contribute to that?

Lighting plays a big role, and for me the focus is on houses in

Cullenders Deli in
Cullenders Deli in
Reigate [4]
Reigate [4]

or our recent project for

, where industrial wall lights bounce off the tiled walls,

creating both a utilitarian and welcoming feel at the same time.

about the importance of shadows and the balance of darkness and light in your work? Sometimes the change from one element to another is what makes

both even better. In a soon to be completed project, we are installing

a 4m long tunnel between two cavernous basement spaces. Lined

with black, sandblasted oak panels to walls and ceiling and lit only by

a concealed LED at the top, this will be an incredibly dramatic space, which will contrast with and enhance the sense of light and space in the rooms either side.

London
London
[1]
[1]

. For the most part this is under individual control and I love the

Barnes, London [5]
Barnes, London [5]

random and unplanned nature of the residential scene. Do you ever gaze out over a rooftop or street scene at night and wonder about the rooms that you want to be in and those you don’t? I want to add more of the ones you do!

how do you approach lighting a building through architecture? In older buildings I like to keep things soft, mixing general lighting, which you can dim according to taste, with accent lighting, which adds a certain feel on its own. This brick wall forms the back of the

In another house in

you leave a traditional

entrance hall with panelled stairs - just pendant lighting and north facing daylight filtering through a frost glass door - and sliding back the bookshelf step into a bright open-plan living space with full- height glazing by day, and by night a 7m concealed light-raft, which casts a soft light to the length of the space and down the soft linen curtains.

www.thevawdreyhouse.com

Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography

047

Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography

048

048

DETAILS

DETAILS

048 048 DETAILS DETAILS IT’S A FAMILY AFFAIR From the days of spotlights and Par lamps

IT’S A FAMILY AFFAIR

From the days of spotlights and Par lamps to the modern day lighting we see today Michael Dunk has experienced it all. Today, he remains at the core of his family run business Lucent, which recently partnered with the darc awards, and sees no reason to call it a day anytime soon. Words by Jill Entwistle.

Lighting has become an awful lot more complicated since Michael Dunk started out as a salesman with Concord Lighting in 1972. “With the exception of Derek Philips there were no lighting designers in the UK back then,” he said. Everybody used a spotlight or a downlight and chose a Par lamp with a certain beam spread. That was it.” Any expertise resided with manufacturers. Dunk likens calling in on leading designers such as Fitch, to a doctor’s consultation: “We would advise on lighting. There were no lighting designers and lighting wasn’t a big consideration.” But behind the scenes were the seeds of the lighting design profession as we know it today. Barry Hannaford and Maurice Brill, to name just two nascent talents, were in Concord’s schemes department carrying out the plotting and lighting design on drawing boards (no CAD yet, of course). Dunk, and Lucent, the company he founded in 1990, have followed the development trajectory of the modern lighting profession every step of the way. Rising to national Sales Manager at Concord in 1978, Dunk left in 1984 to become Managing Director of a start-up lighting company called Lighting Workshop, partially backed by Concord and based in Covent Garden, London. The aim was to be a design and supply company, with Maurice Brill running the design side. The company quickly became associated with what was then a new source, low voltage, tungsten halogen. “I quickly saw the opportunity for low voltage lighting,” said Dunk. “The only people to do it properly were the French at the time, and the first company to do it properly was Mole Richardson, the stage lighting specialist. They teamed up with GE early on, the first company to bring out the dichroic lamp, and quickly came out with a range of downlights.” Having put together an English range from French products, and subsequently US products, LW rapidly made a name in retail, supplying the likes of department stores House of Fraser and Debenhams, along with Bodyshop. LV sources had a bit of a bumpy

049 049
049 049

049049

049 049

050

DETAILS

050 DETAILS Left The Dolce Vita shopping centre. Right The Plenilunio shopping mall in Madrid. ride

Left The Dolce Vita shopping centre. Right The Plenilunio shopping mall in Madrid.

ride in the early days and Dunk sees a lot of parallels with some of the issues surrounding LEDs as they now bed in as a mainstream source. “There were a lot of challenges in low voltage - contractors running bell wire from the transformer to the fixture, or running ten fittings from one transformer. And like LEDs, heat was another issue.” Crucially at this time, Dunk began making regular marketing visits to the US. As well as sourcing product, the aim was to grow the company’s customer base of North American lighting consultants. Independent lighting design was firmly established and recognised in the US, unlike the UK, where it had only begun to develop in the early to mid-80s, when Jonathan Speirs set up Lighting Design Partnership with Andre Tammes, and consultancies such as Lighting Design International and Equation came into being. With Lighting Workshop acquired by Courtney Pope in 1988 Dunk decided to

strike out on his own in 1990 to set up Lucent Lighting. Although manufacturers still designed the lion’s share of lighting schemes, his experience in the US had left him with the firm conviction that he only wanted to deal directly with lighting designers, and that the new company would steer clear of the design and supply route. “I focussed on this area because lighting designers do quality work,” Dunk said. “I was also very conscious that to be different to my competitors, I would have to have an edge and that edge would be dealing with lighting designers, particularly those who were working internationally. My aim with Lucent was to cultivate the contacts I’d made in the States, especially New York when at Lighting Workshop.” In the early years Lucent acted as a UK distributor for German and US lighting companies such as RZB, RSL, Hess and Ardee, but also designed and began manufacturing a limited range of low voltage and metal halide downlights, the

range of low voltage and metal halide downlights, the product area that has always been at
range of low voltage and metal halide downlights, the product area that has always been at

product area that has always been at its core. Initially the company became particularly involved with shopping centre projects, specified by LDP and LDI among others. The breakthrough came with what turned out to be a long association with New York- based lighting designer Theo Kondos, who specified Lucent for a series of malls in Spain and Portugal. “He was the guy who helped us in business, in a big way. He recognised in Lucent our ability to recreate his ideas. We did a shopping centre in Spain with him in 1991 - a year after we’d started the business followed rapidly by two more. We then did around five a year for eighteen years with both Theo and other consultants. Before the recession in Europe we completed nearly 100 projects.” Another seminal figure was Dallas-based Craig Roberts Associates - Dunk having by now ventured further afield in the States - whom they first worked with on

051

051 Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The
051 Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The
051 Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The

Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The initial product rang was designed specifically with the hotel in mind.

the Tommy Hilfiger store in London’s Bond Street. It was the association with CRA that led Lucent to switch from distribution to manufacturing with the launch of the first ProSpex lockable, tiltable downlights in 2007. The initial product range was designed specifically to win The Atlantis Palm hotel project in Dubai, (pictured above) with some 10,000 fixtures supplied. “I owe a lot to Craig Roberts. He basically couldn’t find any European fixtures that had features that compared to American products. At the time he was probably right. Everything here was very stylised. With the Americans it was the Edison Price ethos - dark light reflectors, adjustability, locking on the fixtures and locking rotation so they could focus a job properly. He couldn’t find any European company that was doing that so we started building fixtures for his international work.” From this point the company created an international distributor network and now has a presence in more than 40 countries.

Lucent also developed its second major range, ProSpex Plus square pyramidal and round conical downlights, as a result of CRA, which was specifying for 22 hotels in Mecca (the Jebal Omar development). It meant a huge investment in tooling. “Once again he couldn’t find any European fixtures with the square pyramidal look and with lockable tilt and lockable rotation built in. So we did it. We’ve completed five of those 22 hotels already - around 16,000 downlights. We have to build all the adjustability into the downlight itself and enable it to be installed from below. That’s the challenge.” Lucent also has a long-term relationship with New York-based Schwinghammer Lighting. “The first designers ever to design a gimbal slot system in the ceiling, which they created in the late 1980s,” said Dunk. “We started building gimbal fixtures to Amercian specifications.” The company also developed its pinhole downlight for Schwinghammer. Again

it was US consultants highlighting the

deficiencies of European fixtures and driving improvements. “Europeans at the time weren’t conscious of glare control, lamps were very close to the bottom of fixtures and very apparent to the eye,” said Dunk. “Additionally there was no provision for adding louvres and media accessories. The Americans also don’t like anything that projects down below the ceiling like pull-down downlights. They taught us how to do trimless fixtures.

“I would say 70-80 per cent of our range is

American driven - all our gimbal fixtures, pinhole downlights, the whole range of square and round downlights,” Dunk continued. “We owe the American influence

a lot and its particularly rewarding that the

UK and international lighting designers have also taken to the fixture designs.” Dunk likes doing quality projects and seems to positively relish being pushed by the most discerning lighting designers to get it as perfect as possible. “I like to work with

052

DETAILS

052 DETAILS Above Llft The Dior store in Milan was a major turning point in the
052 DETAILS Above Llft The Dior store in Milan was a major turning point in the
052 DETAILS Above Llft The Dior store in Milan was a major turning point in the
052 DETAILS Above Llft The Dior store in Milan was a major turning point in the

Above Llft The Dior store in Milan was a major turning point in the retail sector for Lucent. Top The Lucent team with Michael Dunk and wife Valerie centre. Above left The Polo Ralph Lauren project in New York - central to the company’s move into retail. Above The Principe Pio shopping centre in Madrid.

lighting designers who are very exacting,

those who will focus the job themselves at the end and appreciate the features and benefits we have built in. “Our products are of a quality and appearance to satisfy the high-end market.

I much prefer to supply this area globally

because we are less subjected to the ups and downs of the economy.” At 68, you might think Dunk was contemplating putting his feet up but he

and his wife Valerie are as involved as ever in growing the business, whose turnover is currently growing around ten per cent a year. In 2014 Lucent moved to bigger offices with

a showroom in north London and a larger

warehouse and technical offices in Enfield, expanding from 330 sq metres to more than 1,100 sq metres. The company also invested heavily in creating its own photometric facility, with further upgrades to come, and has IES files for the majority of its luminaires. Most ambitiously of all, last year it launched its fittings into the US market. “It was never my intention to start selling products in the US because there are so many companies there already,” said Dunk.

“However, in my experience the high-end retailers typically want one manufacturer to supply all their requirements globally. So 18 months ago we bit the bullet and put the majority of our downlights into testing and got ETL [proof of compliance with North American safety standards]. We delivered our first light fittings in February 2014 and we have already exceeded all our expectations.” Lucent recently also supplied the Polo Ralph Lauren flagship store in Manhattan (pictured above) and several Mulberry, Tiffany’s and Dior outlets. “So we’re starting to appear on their radar,” continued Dunk. “The lighting designers who’ve used us internationally are starting to use us there as well. We’re probably the only UK company that’s really concentrated on the US market for so long. Around 60 per cent of our business now comes out of the States.” A fair number of lighting companies have fallen by the wayside over the 25 years of Lucent’s existence, and family businesses are notoriously prone to staleness and stagnation. The company’s winning formula is straightforward - remaining true to its founding principles, constant reinvestment,

dedicated staff and an excellent management team, a vigorous approach to innovation and business opportunities, and the willingness to consistently go the extra mile - lighting designers are an exacting bunch when it comes to getting a precise specification backed up by highly responsive service. Some 40 per cent of the fixtures Lucent supplies are standard products that have been customised. “You have to be flexible,” said Dunk. When Lucent started out there were just four people. There are now 45 in the UK alone. Dunk is quick to pay tribute to the backing and support he’s received over the past 25 years from his wife Valerie. “She has been the ying to my yang. Constantly making me think about and consider decisions and directions we have taken, she and has certainly been a great partner. “I’m pleased with the way it’s going but you have to bear in mind we are still a family business, it’s our own money. We enjoy what we are doing. While we’re still actively running the business and enjoying it, we’ll carry on.” www.lucent-lighting.com

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054

PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK

054 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK CIRCULATING COLOUR The Novo Nordisk Campus consists of

CIRCULATING

COLOUR

The Novo Nordisk Campus consists of two central buildings that are each architecturally unique in their own right but together form the framework of the Danish company’s new headquarters.

055

Pics: Søren Aagaard and Christina Augustesen, Grontmij ©Novo Nordisk

056

PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK

056 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK The atrium and staircase in the NN1 building.

The atrium and staircase in the NN1 building. The lighting concept for the atrium has been focused on emphasising people’s movements and a flow upwards through the building, as well as on creating lighting that is of an understated nature yet provides grand visual effects.

Novo Nordisk’s new headquarters in Bagsværd, Denmark, is the work of Henning Larsen Architects. Home to the company’s top management, along with around 1,100 administrative staff, the architecture consists of two office buildings sited in a verdant and inviting landscape, inspired by the Danish forests and landscapes. The largest of the two buildings, NN1, is six stories tall, is characterised by a cylindrical massing and comprises a central atrium, auditorium, offices, meeting rooms, quiet rooms, a library, classrooms, kitchenettes and canteen. The complexity of the insulin molecule was a source of inspiration for the architecture, with the helix structures of the insulin molecule creatively informing the building’s rounded form, the atrium’s spiralling inner staircase and the dynamic white balconies. The architecture aims to create a lively space for people to meet, where synergies

can be created between employees across different fields, and with guests from around the world.

The second building of the campus, NN2, is

a wedge-shaped, four story edifice. It has

an independent formal expression, yet still relates to the circular-formed neighbouring building. The wedge-shaped geometry of NN2 creates a coherent complex of lower polygonal buildings, which help stage a focal point – the circular main building,

NN1.

From early on in the design development,

it was Novo Nordisk’s desire to bring in

a lighting designer and so the lighting design team at Grontmij were heavily involved from start to finish. Based on the architectural visions of Henning Larsen Architects and Novo Nordisk, while considering the diverse functional and aesthetic needs, Grontmij’s lighting design team created a lighting strategy that

ensured an overall lighting concept and hierarchy for the integration of various lighting elements. The lighting strategy has worked to accentuate the building’s iconic significance and identity, the movements and flows throughout the building, and its appearance and functionality during the daytime, evening, and night time hours. So strong was this strategy that Novo Nordisk was awarded the 2014 Danish Lighting Award. This was achieved through a varied lighting environment, where orientation and movement are controlled by vertical lighting, low placement of lighting elements, and variations in lighting levels and lighting characteristics (for example, variations in direct and diffuse lighting, as well as colour temperatures). Anne Bay, Jury Chairman and Director of the Danish Lighting Center commented:

“The lighting is integrated and enhances the

JAPANESE

Architectsの設計による

ノボ・ノルディスクの新本社はデンマークの

Bagsværdにあります。経営陣に加え、約1,100

人の事務担当者と設計担当者が働くこの2つ のオフィスビルは、デンマークの森を望む緑豊

かで魅力的な場所に立地しています。2つの建

物のうち大きい方はNN1と呼ばれ、6階建ての

細長い円筒状の建物の中心に中庭、講堂、事務 所、会議室、静寂室、図書室、学習室、給湯室、

食堂が作られています。もう一つの建物NN2

は、くさび型の4階建てで、隣りの円筒状のビル からは独立した印象ながら一体感のある設計

となっています。このNN2は背の低い多角形の

建物に接触する形で建てられており、それが焦

点、つまり円筒状のNN1をメインに視線の流

れを作っています。設計を担当したGrontmijチ

ームは設計の早い段階から深く関与していまし

Henning

Larsen

た。Henning Larsen Architectsとノボ・ノル ディスクは、この本社ビルの設計コンセプトとし て、多岐にわたる機能と見た目の美しさを考慮 し、Grontmijの照明を採用しました。Grontmij の照明設計チームは多岐にわたる照明を多層 的かつ一体感を損なわない戦略的な照明とし て設計しました。

CHINESE

诺和诺德 (Novo Nordisk) 的新总部位于丹 麦的 Bagsv æ rd,由亨宁拉森建筑师事务所 (Henning Larsen Architects) 担纲设计。作 为公司高层和大约 1,100 名管理行政人员的 办公处所,该建筑包含两栋办公楼。受到丹 麦森林景观启发,该建筑绿荫环绕、风景 怡人。两栋办公楼中较大的一栋 NN1 高六 层,呈圆柱形,包含一个中庭、礼堂、办公 室、会议室、静室、图书馆、教室、厨房和 餐厅。第二栋办公楼 NN2 为一座楔形的四

层建筑,整体独立而对称,但仍与圆形的相 邻办公楼相联系。NN2 的楔形几何结构为较 低的多边形建筑营造出一个连贯的综合体, 帮助逐级强调一个焦点——也就是圆形的主 建筑 NN1。在设计开发的早期,Grontmij 的 团队即开始积极参与其中。基于亨宁拉森建 筑师事务所和 Novo Nordisk 强调多元功能和 美学需求的建筑学愿景,Grontmij 的灯光设 计团队所设计的灯光策略确保了整体的灯光 理念和多种灯光元素的整合层次。

FRANÇAIS

Le nouveau siège de Novo Nordisk à Bagsværd au Dane- mark, est l’œuvre du bureau d’études Henning Larsen Architects. La direction de la société et environ 1 100 membres du personnel administratif profitent de l’ar- chitecture de deux immeubles de bureaux lovés dans un paysage verdoyant et accueillant, inspiré des forêts et des paysages danois. Le plus grand des deux bâti-

ments, le NN1, comporte six étages caractérisées par une volumétrie cylindrique comprenant un atrium cen- tral, un auditorium, des bureaux, des salles de réunion, des salles de repos, une bibliothèque, des salles de classe, des kitchenettes et une cafétéria. Le NN2, le deuxième bâtiment, est un édifice en pointe de quatre étages. Il montre un achèvement formel indépendant, mais s’agence tout de même au bâtiment circulaire voisin. La géométrie en pointe du NN2 crée un complexe cohérent de bâtiments polygonaux moins élevés et of- fre un point de convergence avec le bâtiment principal circulaire, le NN1. Dès le début de l’élaboration de la conception, l’entreprise Grontmij établit une ferme implication. L’équipe de conception de l’éclairage de Grontmij imagina une stratégie assurant un concept d’éclairage général et une hiérarchie pour l’intégra- tion des différents éléments d’éclairage, basé sur les visions architecturales de Henning Larsen Architects et de Novo Nordisk, tout en tenant compte des divers besoins fonctionnels et esthétiques.

057

057

057 Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white
057 Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white
057 Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white
057 Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white

Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white light, amber shades, and light in blue-green-purple shades. Right Building NN1 - the canteen lighting; lighting of the atrium’s smaller light-zones; lighting of the auditorium in a blue scene.

architecture and the building’s functions without drawing attention to itself. This project exemplifies the excellent developments in contemporary lighting design, where it is not the light itself that is eye-catching, but the architectural totality and the atmospheres that are created by the light,” The strategy developed by the team at Grontmij has ensured sustainable lighting by prioritising illumination levels, placement and control. The lighting strategy has been an important design parameter throughout the entire design and construction process, and the detailed planning followed the same lighting strategy as well. Moreover, it has been a crucial factor in interdisciplinary understandings and communications. The design and implementation of the lighting was carried out in close collaboration between the client, lighting designers, architects, interior designers,

contractors, and suppliers, and the project- specific solutions were tested in onsite mock-ups. Based on the lighting strategy, concepts were then developed for the atrium, auditorium, library, meeting rooms, canteen and kitchenettes. The cylindrical form of the atrium is highlighted by the vertical lighting of the wall surfaces in the atrium’s circulation zones, whereby the shape of the atrium

is heightened. The circular staircase has

lighting integrated into its handrail, which illuminates the wood treads in a manner that reflects the light in a warm glowing colour. The handrail naturally provides

a safeguard, but its built-in lighting also

illuminates the horizontal tabletop surfaces in the break out spaces located along the balconies. This safeguarding element becomes a luminous parapet that flows and

wraps its way around the glazed roof of the atrium, which is accentuated by pale

blue light. The parapet illuminated in warm white light contrasts naturally with the pale blue. At the bottom of the atrium, smaller light- zones are created within the greater space with the help of floor lamps, table lamps and directed light from pole-mounted luminaires. These lighting elements create a more intimate ambiance and smaller momentary spaces that can be used for short meetings and briefer stays. The design also offers variations in light zones and lighting atmospheres, which simultaneously support the functional and aesthetic needs of the people using the building. Throughout the entire design process the focus remained on integrating the luminaires into the architecture and avoiding glare so that light is primarily visible when it hits the various surfaces. The lighting system has been implemented using energy efficient LED light sources.

DEUTSCH

Der neue Firmensitz von Novo Nordisk in Bagsværd, Dänemark, ist die Arbeit von Henning Larsen Architects. In dem Gebäude ist neben dem Verwaltungspersonal mit rund 1.100 Angestellten die oberste Führungsebene des Unternehmens untergebracht. Die Architektur besteht aus zwei Bürogebäuden, die in einer grünen und einladenden Landschaft liegen und durch die dänischen Wälder und Landschaften inspiriert wurden. Das größere der beiden Gebäude, das NN1, hat sechs Etagen, kennzeichnet sich durch einen zylinderförmigen Komplex und umfasst ein zentrales Atrium, ein Auditorium, Büros, Konferenzräume, Ruheräume, eine Bibliothek, Unterrichtsräume, kleine Küchen und eine Kantine. Das zweite Gebäude, das NN2, ist ein keilförmig geformtes Bauwerk mit vier Etagen. Es hat einen unabhängigen formalen Ausdruck und ist den- noch verbunden mit dem kreisförmig geformten Nach- bargebäude. Die keilförmige Geometrie des NN2 schafft einen kohärenten Komplex kleinerer, polygolaner Gebäude, die dazu beitragen, einen Blickpunkt zu inszenieren – das

kreisförmige Hauptgebäude NN1. Von Beginn der Desig- nentwicklung an war das Team von Grontmij stark beteiligt. Auf Grundlage der architektonischen Visionen von Henning Larsen Architects und Novo Nordisk hat das Beleuch- tungsteam von Grontmij unter Berücksichtigung diverser funktioneller und ästhetischer Bedürfnisse eine Beleuch- tungsstrategie geschaffen, die ein komplettes Beleuch- tungskonzept gewährleistet und für eine Hierarchie bei der Integration der verschiedenen Beleuchtungselemente sorgt.

ITALIANO

La nuova sede di Novo Nordisk in Bagsværd (Danimarca)

è stata realizzata da Henning Larsen Architects. Sede del top management della società, insieme ad un personale amministrativo di circa 1.100 persone, l’architettura si compone di due edifici per uffici situati in un invitante paesaggio verdeggiante, ispirato ai boschi e ai paesaggi

danesi. Il più grande dei due edifici, NN1, è alto sei piani,

è caratterizzato da una volumetria cilindrica e comprende

un atrio centrale, un auditorium, degli uffici, delle sale ri- unioni, delle hall, una biblioteca, delle aule, delle piccole

cucine con angolo cottura e una mensa. Il secondo edifi- cio, NN2, è di quattro piani ed è a forma di cuneo. Esso presenta un`espressione formale indipendente, ma si rifà ancora agli edifici circostanti che sono di forma circolare.

La geometria cuneiforme del NN2 crea un complesso coer-

ente di edifici poligonali piú bassi, che aiutano a mettere in

risalto l’edificio centrale circolare NN1. Il team di Grontmij

è stato fortemente coinvolto sin dall’inizio dello sviluppo

della progettazione. Sulla base delle visioni architettoniche

di Henning Larsen Architects e Novo Nordisk, tenendo conto

delle diverse esigenze funzionali ed estetiche, il team di progettazione luci di Grontmij ha creato una strategia di illuminazione che garantisse un concetto di illuminazione

generale, ponendo maggior attenzione all’integrazione di vari elementi di illuminazione.

ESPAÑOL

Las nuevas oficinas centrales de Novo Nordisk en Bagsværd,

Dinamarca, es obra de los Arquitectos Henning Larsen. Siendo el lugar donde se encuentra la alta gerencia de la empresa junto con alrededor de 1.100 empleados adminis-

trativos, la arquitectura está compuesta de dos edificios de oficinas ubicados en un verde y acogedor paisaje inspirado en los bosques y paisajes Daneses. El edificio más grande de los dos, el NN1, tiene seis pisos y se caracteriza por

contar con una distribución cilíndrica y está compuesto de un patio central, auditorio, oficinas, salas para reuniones, salas de descanso, una biblioteca, salones para capacita-

ciones, cocinas y un bar. El segundo edificio, el NN2, tiene forma triangular y es de cuatro pisos. Cuenta con una ex-

presión formal independiente, aunque aún guarda relación con el edificio vecino de forma circular. La geometría en forma triangular del NN2 crea un complejo coherente de ed- ificios más bajos con forma poligonal, lo cual ayuda a es- tablecer un punto de fuga - el edificio principal circular, el NN1. El equipo en Grontmij estuvo fuertemente involucrado desde un comienzo en el desarrollo del diseño. Basándose en las visiones arquitectónicas de Henning Larsen Archi- tects y Novo Nordisk, a la vez que consideraba las distintas necesidades funcionales y estéticas, el equipo de diseño de iluminación de Grontmij creó una estrategia que aseguraba un concepto general en iluminación y una jerarquía para la integración de varios elementos lumínicos.

058

PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK

058 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK The lighting design of the NN1 building’s atrium.

The lighting design of the NN1 building’s atrium. The tectonics of the glazed roof are accentuated by pale blue light, framing the ‘heavens’ of the atrium. The parapet that is illuminated in warm white light and the steam of pale blue light contrast each other naturally.

Furthermore, the lighting system has used luminaires that shield the light sources in order to avoid visual discomforts of glare to the greatest extent possible and the luminaires’ light distribution, colour temperatures and colour renderings have been selected based on the functional needs. For example, in the canteen, library, and meeting rooms, spots with a colour temperature of 3,000K, a Ra-value of +90 and a narrow beam light distribution have been utilised. This was done in order to create direct light that gives high-quality colour rendition on the surfaces of the tables in these areas. The direct light and the warm colour temperature support daily functions, as well as supporting direct communications between the people using the building. The direct light has been combined with linear recessed luminaires and wide-beam spots (with a colour temperature of 4,000K and a Ra-value of +80) for the wall lighting and general lighting; this helps frame the various spaces and transitional areas. The combination of diffuse and direct light supports visual comfort, as well as one’s experiences of the spaces, forms and textures. The second building of the Novo Nordisk Campus, NN2, offers a spectacular sculptural atrium, offices, meeting rooms, a

canteen, and a diversity of ancillary spaces. Similar to NN1, this building’s focal point is its atrium, which visually and physically connects the four stories and manifold functions. The atrium has been designed with 50 skylight baffles that poetically disperse daylight into the space and the building’s core. The design and direction of the skylight baffles, influence the play of light and shadow taking place in the building throughout the day and across the year. Daylighting’s dynamic behaviour juxtaposed with the design of the electric lighting’s intensity, direction, and colour temperature help to create the appearance of changing ‘ornamentation’ in the skylight baffles, as well as in the atrium and its adjacent spaces. On the occasions when daylight is insufficient – such as evening hours and the winter months – the electric lighting comes to aid. The concept of the electric lighting involved creating lighting that partly supports the daytime lighting during periods of limited natural light, and partly contributes to the general electric lighting. Likewise, the electric lighting has been designed to accentuate the tectonics of the skylight and to create a welcoming and exciting atmosphere in the atrium as a whole. The electric lighting has been planned using ten different lighting scenarios;

each programmed with a specific dynamic lighting configuration. The different colour shades shift in a slow tempo, characterised by a soft and gradual transition from one shade to another. Most of the scenes work with white light nuances, which span a spectrum from bluish light to neutral white light, and finally to warm light in the form of dark golden hues. The scenes are programmed to align with the daytime lighting’s diurnal and seasonal rhythms, as well as to demarcate special holidays. www.lighting.grontmij.dk

PROJECT DETAILS

Novo Nordisk, Krogshøjvej, Bagsværd, Denmark Client: Novo Nordisk Architect: Henning Larsen Architects Lighting Designer: Christina Augustesen, Lighting, Grontmij in cooperation with Henning Larsen Architects

LIGHTING SPECIFIED

ERCO Quintessence downlight and wallwasher ERCO Compar spotlight Fagerhult AS RAY 2 ceiling light Fagerhult AS Notor ceiling light Fagerhult AS Pleiad Comfort downlight Fagerhult AS Phase spot Martin Professional Tripix 300 linear LED strip Osram LINEARlight FLEX Osram Double grazer Osram Washlight - RGB and 2700° White Osram Floodlight - RGB and 2700° White Traxon Nano Liner Allegro AC lights Traxon DMX control system

Intelligent Transparency The Illusion of Zero Gravity Highly efficient pendant LED luminaire. Integrated light
Intelligent Transparency The Illusion of Zero Gravity Highly efficient pendant LED luminaire. Integrated light
Intelligent Transparency The Illusion of Zero Gravity Highly efficient pendant LED luminaire. Integrated light

Intelligent Transparency The Illusion of Zero Gravity

Highly efficient pendant LED luminaire. Integrated light management. Precise lighting technology with high visual comfort.

Light statement in the room: minimalist and clear cut.

www.wila.com

@WILA_lighting

#TrustWILA

high visual comfort. Light statement in the room: minimalist and clear cut. www.wila.com @WILA_lighting #Trust WILA
high visual comfort. Light statement in the room: minimalist and clear cut. www.wila.com @WILA_lighting #Trust WILA

060

PROJECT / NOVO NORDISK NATURE PARK, BAGSVÆRD, DENMARK

Pics: SLA
Pics: SLA

WORKIN’ 9 TO 5

Novo Nordisk Nature Park is a tranquil space that erases the boundaries between work and leisure, utilising both natural and artificial lighting.

Developed by Denmark-based SLA Architects, the Novo Nordisk Nature Park was designed not only as a recreational setting for the two office buildings, but to provide Novo Nordisk employees with an area for dynamic knowledge sharing and synergy across sectors. The park utilises both natural sunlight and artificial lighting to create a tranquil atmosphere during the day and at night. In the daytime concrete surfaces reflect the changes of the sunlight, whereas at night the surfaces become illuminated by scenographic spotlighting. The light is designed to provide the space with an adventurous feel when walking through the park as well as when observing from inside the buildings. “We are inspired by the natural light because it’s dynamic and sensual,” commented SLA Partner Rasmus Astrup. “It is quite natural that light moves and changes character. When the wind blows, the leaves of a tree or surfaces reflect light, so it is always in some sort of motion. It was precisely this fascination of daylight everlasting movement, that has in the Natural Park, inspired us to enable dynamic white light into the different habitats in such a way that the light - almost imperceptible - changes in the strength and pattern.

“Light is not just light. Light is a story about space - it is dynamic, it changes all the time. When light is best, it tells stories and create atmosphere.” Pathways, as well as several of the plant biotopes, are lit up with slightly varying gobo light projections, creating a sense of moonlight and the fixtures are mounted ‘streetlight-style’ on simplistic poles, with both poles and fixtures painted in an elegant dark grey coat. The path light is sensor-driven and is only activated when people approach it. Just as natural light, the artificial light setting of the park will, in this way, never appear the same. All exterior lighting is created with LED luminaires, which are dimmed down to 50% at night to avoid light pollution and keep the energy consumption to a minimum. The landscape design interprets and expands on one of the finest natural expressions known from the Danish Woodland; the dead-ice landscape. The expression is a lush, lightly rolling and varying setting. The landscape uses a wide palette of native plants and holds over 1,000 trees that over time will grow into forests and habitats, offering an informal green frame for both the indoor and outdoor lives of the employees. The landscape’s flowing manifestation aims to encourage meetings between employees,

manifestation aims to encourage meetings between employees, which in turn encourages an active work environment,
manifestation aims to encourage meetings between employees, which in turn encourages an active work environment,
manifestation aims to encourage meetings between employees, which in turn encourages an active work environment,

which in turn encourages an active work environment, knowledge sharing and innovation. In this way, the boundaries between work and leisure are erased and recreational strolls become an integrated part of everyday life at Novo Nordisk. With this in mind, the park trails are designed to give the greatest possible experiences, spatially, topographically and texturally. The trials are tailored to give the greatest sensuous variation of light, shadow, colours and sounds. The curved course of the path provides varied and unpredictable experiences in the daily transit through the park from one building to another. SLA’s landscape provides Novo Nordisk with a strong, new brand while employees, customers and guests have a stress-free recreational space for social outdoor meetings. www.sla.dk

PROJECT DETAILS

Novo Nordisk Nature Park, Bagsværd, Denmark Client: Novo Nordisk Architect and lighting design: SLA Architects

LIGHTING SPECIFIED

Bega inground armatures iGuzzini Maxiwoody compact floodlights iGuzzini luminous rushes Martin Professional Exterior 400 image projectors

Project: L’Oréal Professional New Products Academy (Barcelona, Spain) Architect: s.a. Benedetta Tagliabue
Project:
L’Oréal Professional
New
Products Academy
(Barcelona, Spain)
Architect: s.a.
Benedetta
Tagliabue
Developer:
Asociados
L’Oréal IC Constructor: Engineering: España
Consultors Estructures S.C.P.
AGW
Installer:
SAISS
Year:
2013
Fil Lighting:
Custom-made
Maui
Custom-made
Avant
+ Trimless
Flat
Nic

062

PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA

MOVING ON UP
MOVING ON UP
Chifley Tower’s updated lobby lighting, created by design consultancy PointOfView, incorporates strong stainless steel
Chifley Tower’s updated lobby lighting, created by design
consultancy PointOfView, incorporates strong stainless steel
design elements and pendants in order to bring the building’s
elegance and Art Deco styling to life.

063

Photos: Jackie Chan

064

PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA

064 PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA Artwork and art sculptures featured in the lobby was

Artwork and art sculptures featured in the lobby was highlighted using ERCO LED track spots.

Drawing comparisons to some of the world’s greatest buildings, such as the Chrysler and Empire State Building in New York, and the Petronas Twin Towers in Kuala Lumpur, the Chifley Tower in Sydney, Australia, epitomises the luxury and opulence of the Art Deco era. Occupying one of Sydney’s most expensive sites, bought by the Bond Corporation in 1988 for AUS$306m, the 6,438.6 sq metre site, designed by New York architects Kohn Pederson Fox in association with Travis McEwen, is one of the most elevated in the city with harbour views never to be built out. When the time came to upgrade

the main lobby and satellite lobbies, such an iconic Sydney landmark required a delicate approach, particularly with the lighting. While the fabric of the building was constructed from such quality material that it required no attention, it was felt it deserved to be celebrated in a more appropriate light. Design consultancy PointOfView (POV) was brought on board by building owner GIC to work on the upgrade of Chifley, having previously worked together on the exterior lighting at Sydney- based office accommodation No.1 Martin Place. “The building has such a strong aesthetic

our design had to look timeless and as if it was part of the original,” said Mark Elliott, Principal of POV. “This drove a bespoke solution whereby we designed all of the equipment used in the space.” The Chifley concept began with researching Art Deco buildings such as the Chrysler for inspiration, and then taking these approaches and developing them into a more contemporary style, bringing Chifley into the 21st century so that it can stand as a premium building for the future to come. The palette of materials used in the original KPF design is a collage of fabulous stones with stainless steel detailing, Elliot

UNPArALLELED QUALITy oF LIGhT & DImmING IN oNE AFForDAbLE moDULE

QUALITy oF LIGhT & DImmING IN oNE AFForDAbLE moDULE Photo Credits: Grieg Hall in Bergen, Norway

Photo Credits: Grieg Hall in Bergen, Norway | Xicato Artist Series, Lighting Design by Kim E. Hughes - Bright Norway AS | Luminaires by Roblon

INTroDUCING XIm XICATo

moDULE

INTELLIGENT

INTroDUCING X I m X I C A T o moDULE INTELLIGENT • 1-10V and DALI

• 1-10V and DALI options

• Superior deep dimming, down to 0.1% in DALI and 1% in 1-10V

• No observable flicker

• Integrated DC driver electronics

• Electrical and temperature protection

• Next Generation Corrected Cold Phosphor Technology ® that keeps phosphors cool for maintained light quality

• Future-proof platform for expanding capabilities

www.xicato.com

that keeps phosphors cool for maintained light quality • Future-proof platform for expanding capabilities www.xicato.com

066

PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA

066 PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA The building has such a strong aesthetic, PointOfView’s design

The building has such a strong aesthetic, PointOfView’s design had to look timeless and as if it was part of the original, driving a bespoke lighting solution.

commented: “The lighting approach was obvious to us, we had to freshen the space during the day, in order to enhance the daylight ingress while creating a more dramatic space after dark. “We washed the rear wall, which draws the eye through the full height glazing into the space from an external view point. The light bouncing off the walls is what lights the space and together with uplighting to the ceiling, creates a sense of volume.” ERCO metal halide wall washers were used in the double height spaces, while ERCO LED wall washers brought single height spaces to life. In order to highlight the artwork featured in the lobby, ERCO LED track spots

were implemented. To replace the previous suspended square light fixtures, which felt underscaled and awkward in the wing shaped lobby, POV custom designed a series of stainless steel rings made by Lightforce, providing uplight to the ceiling during the day through the use of Xicato LED modules and focused downlighting at night thanks to acdc LED downlights integrated into the rings. The materials used for the custom fittings were critical and had to match the existing stainless detail of the building – the grade of stainless steel, weight and direction of the brushing were all tested until a perfect match found. Together with the rings, a custom cluster

of pendants – also made by Lightforce and featuring acdc LED downlights - were suspended over the reception desk to anchor it in the space and give visitors a point of destination, where previously it had been lost in the open space. The lift lobbies were also suffering from a cave effect and so a new architecturally integrated stainless beam was strapped through the lift lobbies, connecting the existing lateral beams. Elliot explained: “The previous wall light and downlight combination left the walls and ceiling dark. Lift lobbies are a critical part of the journey to the office floors, these transition spaces shouldn’t be

JAPANESE

フルトン・センターは300,000人の通勤者を抱

えるマンハッタン島最南端への入り口にありま

す。設計を担当したのはGrimshawで、ARUP

との協業でした。照明デザインはニューヨーク

を拠点とするJames Carpenter Design As- sociatesが行いました。フルトン・センターの 建築費 用は140億ドルに上ります。外部からの

光を建物内に導く直径53フィートの眼には、-

James Carpenterの設計による装飾ピース Sky Reflector-Netが置かれて光を蓄えます。

かすかに光るこのピースは、このアトリウムを光

で満たしたいという設計者の願いの現れでま

す。アトリウムの円錐形が緊張感を醸し出し、こ

の装飾ピースが目線を空から建物の中心部に

向けて下向きに誘導しています。内装デザイン

は入場者の動きを妨げず、視線を複数階に広

げます。James

の第二の要素はデイ・ストリートの地下からフ

ルトン・センターを新築されたワールド・トレー

ド・センターに向けて結ぶ地下通路の建設で

した。このトンネルは、黄昏を模したインテラク

ティブな光の壁が特徴的です。

Carpenterによるプロジェクト

CHINESE

奇夫利大厦位于悉尼最昂贵地段,由邦德 公司于 1988 年耗资 3.06 亿澳元建成,占地 面积 6,438.6 平方米,由位于纽约的科恩- 佩德森-福克斯建筑师事务所 (Kohn Peder- son Fox) 联合 Travis McEwen 建筑师事务 所担纲设计,是城市海港风景线上许可建 设的最高建筑。在对主厅和卫星厅进行升 级改造工作时,这样一座悉尼地标式建筑 也需要精致的工作,尤其是在灯光上。考

虑到大厦建筑材料如此上乘,就必须搭配 合适的灯光加以点缀。大厦业主 GIC 委托 设计咨询机构 PointOfView (POV) 担纲奇 夫利大厦的升级工作,他们曾合作创建了 悉尼商住楼“马丁广场 1 号”的外部灯光 工程。奇夫利的理念起始于对装饰艺术建 筑作品的研究,如克莱斯勒公司总部,以 作为灵感来源,并取其精华再将其发展成 为一种更为现代的风格,将奇夫利大厦带 入了 21 世纪,以让其永远屹立于未来的风 景线中。

FRANÇAIS

Acheté par le Bond Corporation en 1988 pour 306 M$ AUS, et occupant l’un des endroits les plus chers de Syd- ney, le site de 6 438.6 m2 conçu par les architectes New Yorkais Kohn Pederson Fox et Travis McEwen est l’un des plus élevés de la ville et offre un panorama du port qui

restera vierge de construction. Lorsqu’il s’agit de trans- former le hall d’entrée et les halls satellites du gratte- ciel le plus emblématique de Sydney, une approche réfléchie, en particulier en ce qui concerne son éclairage, était exigée. Bien que la structure du bâtiment ait été construite à partir de matériaux de qualité, de sorte qu’elle ne nécessitait aucune attention particulière, le bâtiment lui méritait un traitement de la lumière plus adéquat. Le propriétaire du gratte-ciel, GIC, invita l’équi- pe de consultants en conception de PointOfView (POV) à travailler sur l’amélioration du Chifley, puisqu’ils avaient déjà collaboré à l’élaboration de l’éclairage extérieur des locaux du N° 1 Martin Place à Sydney. Le concept appli- qué au Chifley démarra par une recherche de bâtiments Art Déco tels que le Chrysler pour s’en inspirer et ensuite prendre ces idées et les faire évoluer en un style plus contemporain, transportant ainsi le Chifley dans le 21e siècle pour que son architecture de standing soit ad- mirée par les générations à venir.

067

067

067 Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato
067 Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato
067 Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato
067 Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato

Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato LED modules, acdc LED downlights and T5 fluorescent lamps.

forgotten.” The new beam houses T5 uplights to uplift the ceiling and wash light across the stonewall cladding, while downlighting from acdc enhances the diamond pattern in the stone floors. The upgrade to this space relied purely on the lighting to enhance it with light and with a new sculptural form. “This kind of solution can only be achieved through custom designed solutions, the kind of work that we pride ourselves on,” said Elliott. “We light spaces but we also create beautiful objects to light from. This project demonstrates the power of light and how a it can change the face of a space.”

The aesthetics of the space are supported by all the usual sustainable design technologies; using LED and lighting control systems that harvest daylight and transition from day to night scenes, as well as out of hours settings ensuring the installation not only creates different settings, but is efficient in its use of energy. Concluding, Elliot said: “It’s amazing to see how the style of architecture has changed from the late ‘80s to today. KPF are great architects and great architecture stands the test of time, a slight face lift was all that was needed to bring this gem back to life.” www.pov.com.au

PROJECT DETAILS

Chifley Tower, Sydney, Australia Client: GIC Lighting Design: PointOfView

LIGHTING SPECIFIED

ERCO quintessence lensed wall washers LED & metal halide ERCO LED track spots Modular Lotis downlights T5 fluorescent lamps Lightforce custom made lighting rings (with Xicato 41WXLM modules) and pendant elements

DEUTSCH

Der 6.438,6 Quadratmeter große, durch den New York- er Architekten Kohn Pederson Fox in Zusammenarbeit mit Travis McEwen konzipierte Standort auf einem der teuersten Plätze Sydneys, der 1988 für AUS$306m durch die Bond Corporation erworben wurde, gehört zu den höchsten der Stadt mit einer unverbaubaren Auss- icht auf den Hafen. Als die Zeit kam, die Eingangs- und Satellitenhallen zu renovieren, verlangte solch ein ikonisches Wahrzeichen von Sydney viel Fingerspitzenge- fühl, insbesondere im Bereich Beleuchtung. Während die Struktur des Gebäudes aus solch qualitativ hochwerti- gem Material konstruiert wurde, dass keine besonderen Vorkehrungen zu treffen waren, herrschte die Meinung, dass die Beleuchtung zu verbessern war. Die Designber- ater PointOfView (POV) wurden durch den Eigentümer des Gebäudes GIC beauftragt, an der Auffrischung des Chifleys mitzuarbeiten, nachdem sie zuvor zusammen an

der Außenbeleuchtung der Büroräume No.1 Martin Place

in Sydney gearbeitet hatten. Das Chifley-Konzept begann

damit, Art Deco-Gebäude wie das Chrysler als Inspira- tionsquellen zu suchen und diese Ansätze anschließend zu nutzen, um sie zu einem zeitgenössischen Stil weiter- zuentwickeln und somit das Chifley ins 21. Jahrhundert zu integrieren, so dass es auch in Zukunft als Gebäude der Spitzenklasse fortbestehen kann.

ITALIANO

Occupando uno dei siti più costosi di Sydney, acquistato dalla Bond Corporation nel 1988 per AUS $ 306 millioni e

con una superficie di 6.438,6 m², la Chifley Tower é stata progettata dagli architetti di New York Kohn Pederson Fox

in collaborazione con Travis McEwen ed è uno dei punti

più alti della città con vista sul porto che sia mai stato

costruito. Al momento di ristrutturare la hall principale

e quelle piú piccole, un punto di riferimento simile della

cittá ha richiesto un approccio delicato, in particolare per

l’illuminazione. Mentre la struttura dell’edificio era stata

realizzata con dei materiali di qualità e, quindi, non ha richiesto molta attenzione, si è ritenuto opportuno che l’interno meritasse di essere celebrato con una luce più appropriata. I consulenti di progettazione PointOfView (POV) sono stati assunti dal proprietario dell’edificio GIC per lavorare alla ristrutturazione della Chifley, avendo già lavorato insieme sull’ illuminazione esterna dell’uf- ficio N. 1 di Sydney Martin Place. Il concetto Chifley é ini- ziato con la ricerca di edifici Art Deco, come quello Chrys- ler, ai quali ispirarsi, per poi prendere questi approcci e svilupparli con uno stile più contemporaneo, portando Chifley nel XXI secolo in modo che potesse presentarsi come un edificio símbolo per l’avvenire.

ESPAÑOL

Ocupa uno de los sitios más caros de Sídney y fue ad-

quirido por Bond Corporation en 1988 por AUS$306 Millones. El lugar de 6.438 metros cuadrados, diseñado

por los arquitectos Kohn Pederson Fox de Nueva York, junto con Travis McEwen, es una de los más altos en la ciudad con vistas hacia el puerto. Cuando llegó el momento de actualizar el salón principal y los salones satélites, un sitio tan emblemático de Sídney como éste, requirió un tratamiento delicado, particularmente con la iluminación. Mientras que la estructura del edificio fue construida de una calidad de material tal que no requería de atención, se merecía tener la luz más adecuada. La consultora de diseño PointOfView (POV) fue convocada por el propietario del edificio, GIC, para que trabaje en la actualización de Chifley, habiendo trabajado ya jun- tos en la iluminación exterior en las instalaciones de las oficinas en No. 1 Martin Place, con base en Sídney. El concepto de Chifley comenzó con la búsqueda de edifi- cios Art Deco, como el Chrysler, para inspiración y luego tomando estas estrategias y desarrollándolas hacia un estilo más contemporáneo, trasladando al Chifley hacia el siglo 21 para que se convierta en un edificio premium del futuro venidero.

068

PROJECT / FULTON CENTER, NEW YORK, USA

Pics: Provided by Grimshaw except when noted

NEW YORK, USA Pics: Provided by Grimshaw except when noted IN A NEW YORK MINUTE The

IN A NEW YORK MINUTE

The Fulton Center is the new transport hub for Lower Manhattan. Styled as both a retail space and a Subway interchange the impressive new structure with its centrepiece oculus was designed by Grimshaw in conjunction with Arup and features a daylighting design from James Carpenter Design Associates.

The Fulton Center is the gateway to Lower Manhattan and is the entrance through which 300,000 commuters arrive daily in the city’s business district. Inspired by the awe inspiring Grand Central Station in Midtown and standing between the newly opened World Trade Center Me- morial and City Hall, home to NYC’s trend setting liberal mayor Bill de Blasio, the Fulton Center is a transport hub combining a number of Subway stations with 65,000 square feet of retail space. Designed by Grimshaw in conjunction with

Arup, with a daylighting design from the New York based James Carpenter Design As- sociates, the Fulton Center cost 1.4 billion dollars to build and the Centerpiece of the project is the 53 foot-diameter oculus that allows daylight to pour into the building’s principle atrium. The impressive ceiling is formed from a cable structure that supports aluminium panelling that caches the light and appears to shimmer. Grimshaw was appointed by the Metro- politan Transportation Authority Capital Construction Company as the lead architect

on the project in collaboration with prime design consultant Arup. Grimshaw after the completion of a considered design process, designed a dynamic transport environment that treamlines connectivity and enhances the user experience for transit passengers who use the station daily. The surging redevelopment of Lower Man- hattan that has followed after the difficul- ties prompted by 9/11 and the financial crash of 2008 prompted the creation of the station and it is a vital link to this commer- cial center and its growing residential sec-

069

069 tor, acting to connecting eleven New York City Transit subway lines and easing access to

tor, acting to connecting eleven New York City Transit subway lines and easing access to PATH trains serving New Jersey. “From the beginning, we were inspired by the ambience and activity of Grand Central Station,” says Grimshaw Project Partner Vincent Chang. “We endeavoured to design a similar envi- ronment for transit customers and visitors, creating a new front door to downtown New York. By providing a dramatic, light-filled civic space and incorporating the historic Corbin Building, the transit center repre-

Pic: Patrick J. Cashin
Pic: Patrick J. Cashin
Building, the transit center repre- Pic: Patrick J. Cashin sents a microcosm of Lower Manhattan’s evolution,

sents a microcosm of Lower Manhattan’s evolution, one that reflects both the legacy and the revitalisation of the district.” The Fulton Center is organised around a large-scale atrium contained within an elegant, transparent façade. Tapered steel columns draw inspiration from the historic neighbourhood’s cast-iron buildings and complement the integration and restoration of the adjacent Corbin Building, the historic Romanesque Revival Style office building which dates back to 1888, a time before New York became the high-rise city it is

The oculus in the Fulton Center acts as a photographic centrepiece to the building.

070

PROJECT / FULTON CENTER, NEW YORK, USA

070 PROJECT / FULTON CENTER, NEW YORK, USA Above The open plan nature of the building
070 PROJECT / FULTON CENTER, NEW YORK, USA Above The open plan nature of the building
070 PROJECT / FULTON CENTER, NEW YORK, USA Above The open plan nature of the building

Above The open plan nature of the building allows commuters to easily move around the interior of the building ensuring easy navigation around the Center’s knot of Subway stations. Above right The oculous in the ceiling of the building.

today. The open design provides unimpeded customer movement and sightlines across a level ground plane extending from the ma- jor thoroughfares of Broadway and Fulton Street. Carefully aligned entrances and exits allow the streetscape to permeate the building, defining clear and efficient pathways to all trains. Once beyond fare control and underground, passengers encounter bright- er, widened passageways than in the older stations, with clear signage connecting the complex array of platforms.

The transit hub’s atrium ascends to 120 feet and is topped by a conical dome Centerd on the concourse below. The dome is truncated by an angled glass oculus oriented to the southern sky. The central architectural concept of redi- recting natural light deep into the transit environment in an effort to humanise the space and orient passengers, culminated in the design of the dome’s interior and a new integrated artwork. Sky Reflector-Net (2013) is the work of en- gineer, architect and artist; a collaboration with Arup, Grimshaw and James Carpenter

Design Associates, commissioned by the MTA Arts for Transit and Urban Design and MTA Capital Construction Company. Held aloft below the oculus, the artwork paints an ever-changing image of the sky across the atrium interior. The Sky Reflector-Net builds upon the architect’s desire to ensure that the atrium is light filled. Tensioned within the atri- um’s conical form, the artwork acts to fold the sky downwards into the core of the building, helping to create the grand civic room that the designers hope will stand in posterity as a rival to Grand Central.

JAPANESE

シドニーで最も地価の高い一角を占めるこの

建物は、1988年、3億6百万オーストラリアド

ルでBond Corporationに売却されました。 ニューヨークを拠点とする建築会社、Kohn

Placeの建物外装照

明での協業を踏まえて設計コンサルタントの PointOfView(POV)に提案しました。チフリ ーのコンセプトは当初、クライスラーの本社 ビルのようなアールデコ式のビルといったも のでしたが、検討を重ねるうちに現代的なデ

ザインに変わり、未来を見据えた21世紀のビ

スビルNo.1

Martin

Pederson

Foxは、この6,438.6m2の建物

ルにふさわしい、高級感あふれるデザインと

をTravis

McEwenと共同で設計しました。

なりました。

シドニーの高台に位置し、港の眺望を誇る

チフリータワーは未だ完成を見ることなく、

メインロビーとサテライトロビー改築の際は、

シドニーの有数のランドマークとして照明に

は特に細心の注意を要しました。ビルに使用

された織物類は主張しすぎず、それでいて見

栄えがするように照明が設計が変更されま

した。建物所有者であるGIC社は、チフリー

タワーの改装に際し、以前シドニーのオフィ

CHINESE

富尔顿中心是下曼哈顿区的门户,每天 要见证 300,000 名往返人流。该中心由 Grimshaw 联合 ARUP 设计,日间灯光设 计源自纽约詹姆斯·卡彭特联合设计事务 所 (James Carpenter Design Associates)。 富尔顿中心耗资 14 亿美元建成,具有直

径 53 英尺的圆孔,可让阳光射入建筑。 由 James Carpenter 设计的艺术大作 Sky Reflector-Net,位于圆孔中,可捕捉光线 并闪光。设计师的初衷是使得整个中庭光 线充足。在中庭的圆锥形中经过处理后, 该艺术作品会将阳光向下折射至建筑核心 部位。内饰设计为顾客自由通行提供便 利,且视线可横跨整个楼层。James Car- penter 为该项目创造的第二个特别元素就 是在 Dey Street 下修建了连接富尔顿中心 和新世贸中心的 PATH 站的地下通道。该 通道采用了交互式的光墙,可营造出美轮 美奂的黄昏映像。

FRANÇAIS

Le Centre Fulton est la passerelle vers le bas de Manhattan pour 300 000 banlieusards. Le cabinet Grimshaw, en col-

laboration avec la maison ARUP, en fut le concepteur, tan- dis que le groupe James Carpenter Design basé à New York en imagina l’éclairage. La construction du Centre Fulton a coûté 1,4 milliard $ et dispose d’un oculus de 53 pieds de diamètre permettant au bâtiment de baigner dans la lumière du jour. Au milieu de l’oculus se trouve le « Sky Re- flector-Net », une œuvre d’art conçue par James Carpen- ter. Celle-ci capte la lumière et la fait scintiller, répondant ainsi à la volonté de l’architecte de voir l’atrium resplendir de lumière. Reflétant la forme conique de l’atrium, l’œuvre tendue semble attirer le ciel vers le bas, au cœur même du bâtiment. Le design intérieur procure une circulation des clients et un angle de vision sans entraves sur tout le rez- de-chaussée. Le deuxième élément du projet pour James Carpenter était la création d’un passage souterrain sous la rue Dey reliant le Centre Fulton à la station PATH du nouveau World Trade Center. Le tunnel est doté de murs de lumière interactive qui simule la tombée de la nuit.

LED surface-mounted ceiling downlights with rotationally symmetrical light distribution, protection class IP 65, 450 to 2685 lumen. Colour tem- perature optionally 3000 K or 4000 K. Available in three sizes. Available as classical downlights or with partially frosted crystal sealing glass – an additional portion of vertical light produces multi-faceted light graphics. BEGA Lighting UK Ltd · Suite C1 · Paper Mews Place · 290-292 High Street Dorking · Surrey · RH4 1QT · UK · Tel. No. +44 (0) 1306 882 098 info-uk@bega.com · www.bega.com

RH4 1QT · UK · Tel. No. +44 (0) 1306 882 098 info-uk@bega.com · www.bega.com Das

Das gute Licht. For better architecture.

072

PROJECT / FULTON CENTER, NEW YORK, USA

The egg-like interior of the Fulton Centre, the atrium ascends 120 feet.
The egg-like interior of the Fulton Centre,
the atrium ascends 120 feet.

JCDA, working with Schlaich Bergermann und Partner created a cable net struc- ture that fits inside the oculus perfectly. Designed to resemble the film that forms a soap bubble, the façade draws the eye up- wards to the ephemeral, diurnal and season rhythms of the sky. The skylight features a perforated facetted reflector system that is able to animate and redirect seasonal sunlight into the atrium. Visible from the corner of Broadway and Fulton the sculp- ture creates a distinctive point of orienta- tion amid the busy city. The second element of the project for JCDA was the creation of an underground pas-

sageway under Dey Street linking the Fulton Center to the PATH station at the new World Trade Center. The tunnel features interac- tive light walls that simulate the experience of twilight meaning that the two sections of the project are linked by depictions of the sky. According to New York Governor Andrew Cuomo, “This new station makes traveling easier for subway riders, and is a beautiful public space for visitors and commuters to enjoy. We now have a new cornerstone in Lower Manhattan, and I am proud to see this unique complex opened to the public.” Both a neighbourhood asset and regional interchange, the Fulton Center fulfils a sig-

nificant civic role as a gateway to and from Lower Manhattan. Today, commuters and visitors alike will arrive and depart through a memorable, contemporary urban transit centre that celebrates the city’s history while looking forward to the area’s future. www.grimshaw-architects.com www.arup.com www.jcdainc.com

PROJECT DETAILS

Fulton Centre, New York, USA Client: New York City Transit Authority Architect: Grimshaw, Arup Daylighting Design: James Carpenter Design Associates

DEUTSCH

Das Fulton Center ist das Tor nach Lower Manhattan für 300.000 Pendler. Der Bau des Fulton Centers, das von Grimshaw in Zusammenarbeit mit ARUP entworfen wurde, mit einem Tageslichtdesign von James Carpenter Design Associates, die in New York ansässig sind, hat 1,4 Mil- liarden $ gekostet und weist ein Rundfenster mit einem Durchmesser von 53 Fuß auf, dank dem das Tageslicht ins Gebäude einfallen kann. Sky Reflector-Net, ein von James Carpenter entworfenes Kunstwerk, ist im Rundfenster in- stalliert, nimmt das Licht auf und scheint zu flackern, ganz nach dem Wunsch des Architekten, der gewährleisten woll- te, dass das Atrium lichtdurchflutet ist. Das Kunstwerk, das innerhalb der konischen Form des Atriums gespannt ist, soll den Himmel nach unten in den Kern des Gebäudes klappen. Die Inneneinrichtung verschafft dem Kunden

eine ungehinderte Bewegung und Sichtlinien über Fläche auf Bodenniveau. Das zweite Projektelement für James Carpenter war die Schaffung eines unterirdischen Gangs unter Dey Street, der das Fulton Center mit der PATH-Sta- tion im neuen World Trade Centre verbindet. Der Tunnel verfügt über interaktive Lichtwände, die die Erfahrung von Dämmerlicht simulieren.

ITALIANO

Il Fulton Centre è l’ingresso al Lower Manhattan (la parte meridionale dell’isola) per 300.000 pendolari. Progettato da Grimshaw in collaborazione con ARUP, con un pro- getto dei newyorkesi James Carpenter Design Associates che prevedeva lo sfruttamento della luce del giorno, il Fulton Centre è costato 1,4 miliardi di dollari per la sua costruzione e dispone di una sorta di occhio di circa 16 metri di diametro che permette alla luce diurna di entrare

nell’edificio. Lo Sky Reflector-Net, un’opera progettata da James Carpenter, si trova all’interno dell’occhio e, assor- bendo la luce, sembra luccicare, rispettando il desiderio dell’architetto di conferire all’atrio un’estrema luminositá.

Teso all’interno della forma conica dell’atrio, il disegno fa

sì che il cielo “scenda” al centro dell’edificio. Il design

degli interni offre il libero movimento dei clienti ed una visuale dal piano terra. Il secondo elemento del progetto

di James Carpenter è stata la creazione di un passaggio

sotterraneo sotto Dey Street che collega il Fulton Center alla stazione PATH presso il nuovo World Trade Center. Il tunnel è caratterizzato da pareti interattive luminose che simulano il crepuscolo.

ESPANOL

El Centro Fulton es la puerta hacia el Bajo Manhattan

para 300.000 personas. Disenado por Grimshaw junto con

ARUP, con un diseno de iluminación natural de James Car- penter Design Associates de Nueva York, el Centro Fulton costó $1.4 billones en ser construido y presenta un óculo de 16 metros de diámetro que permite el ingreso de la luz natural al edificio. El Sky Reflector-Net, una obra de arte

disenada por James Carpenter, se encuentra dentro del óculo captando la luz y pareciendo brillar, construido sobre el deseo del arquitecto para asegurar que el patio interior

esté lleno del luz. Tensionado dentro de la forma cónica del patio, la obra de arte actúa plegando el ingreso de la luz del cielo hacia abajo en dirección al núcleo del edificio. El diseno interior permite el movimiento de los clientes sin impedimentos y la visibilidad a través del plano horizontal. El segundo elemento del proyecto para James Carpenter fue la creación de un pasadizo bajo tierra bajo la calle Dey que uniera el Centro Fulton y la estación PATH en el nuevo

World Trade Center. El túnel presenta paredes interactivas de luz que simulan el crepúsculo.

Pico Zoom precisionlighting.co.uk
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Pico Zoom
precisionlighting.co.uk

074

PROJECT / IZB RESIDENCE, MUNICH, GERMANY

SCIENTIFIC MARVEL

IZB Residence is at the heart of Martinsried Life Science Campus, providing scientists from around the world with an elegant space to engage in thoughtful discussion before unwinding at the end of each day. Making the most of the space, Occhio’s lighting concept pursues the principle of connection between architecture, interior design and lighting blend.

Pics: Robert Sprang

075

075 Design hotel IZB Residence, located in the heart of the Martinsried Life Science Campus, stands

Design hotel IZB Residence, located in the heart of the Martinsried Life Science Campus, stands at an impressive 27-metres high - encompassing seven-storeys and featuring incisive, elegant design. Rising from a triangular floor plan, the IZB is designed as a faculty club serving as a meeting place for guests and scientists from the surrounding research facilities. Designed by Stark Architekten of Munich, the building is a communicative focus of the campus, comprehensively lit by Occhio. In charge of the lighting design was Occhio's Helen Neumann, who commented: "The briefing given to us was simply a rendering of the building with its specific fa ç ade and the floor plans for each storey. Our first drafts showing the idea of curved ceiling trenches luckily struck with the architect immediately and after a year of refinement the harmonic result emerged. "Together with Stark Architekten, we developed a lighting concept always keeping the 'bigger picture' and all-over result in mind." With the building’s front embraced by white aluminium strips, the internal lighting concept pursues the principles of

076

PROJECT / IZB RESIDENCE, MUNICH, GERMANY

076 PROJECT / IZB RESIDENCE, MUNICH, GERMANY The ‘Seven and More’ restaurant on the ground floor

The ‘Seven and More’ restaurant on the ground floor - visitors experience the continuation of the fa ç ade’s dynamics on the interior. The dark suspended and decorative ceiling wells playfully mirror the curved design while assuming the function of a chain, onto which the surface-mounted Piu alot spotlights are threaded.

connection: architecture, interior design and lighting blend together just as the internal spaces do. When visitors first enter the hotel they experience the continuation of the façade’s dynamics inside, through the reception and restaurant area. The dark suspended and decorative ceiling wells playfully mirror the curved design, while also assuming the function of a chain, onto which 123 surface-mounted Occhio Più alto spotlights are threaded. The rhythmic arrangement of the spotlights and luminaires enables the targeted lighting of the individual zones and at the same time guides the visitor through the space. "The open floor plan concept for the public areas was supposed to appear consistently

in one design," commented Neumann. "However, the different areas required different lighting atmospheres according to their purpose. We had the idea to design ceiling trenches that thread the luminaires like pearls on a string meaning they could be distributed among the space and create a calm ceiling view. Theses trenches became one of the signature features of the building. "With the combination of LED and low- voltage halogen the different areas could be lit accordingly to their purpose by keeping one consistent luminaire design." Covering the first six floors of the IZB are twelve junior suites and 24 rooms, in which diverse areas of usable space are seamlessly interconnected and equipped with Occhio’s

universal lighting. The workspace in each room is lit by a Sento tavolo table luminaire (42 in total), while the headboards are lit by a Sento letto wall luminaire (again, 42 in total are used). Where sitting areas are featured, a Sento lettura floor luminaire lights the space; and 36 of the rooms feature a Sento filo suspended from the ceiling into the room. Along the hotel’s corridors, the walls are shaped with Duna shape spotlights marking access to the lift, helping to orientate the guests. At the same time they form a symbolic tree trunk through the entire building, right up to the top storey where the Faculty Club G2B (Gateway to Biotech) - the centrepiece of the building - is found. This 170 m ² club room, with

JAPANESE

デサイナーズホテル、IZBレシデンスは Martinsriedライフ・サイエンス・キャンパ

スの中心部に聳える7階建て、27メート

ルの建物です。この研ぎ澄まされた感性

とエレガンスが見事な調和を見せる建

物は、食事会や周囲の研究施設からの

研究者を招いての会議が行える会議施

設としてStark

計されました。キャンパス内のコミュニケ ーション活性化を狙って建てられたこの 建物全体の照明デザインはHelen Neu-

Architektenによって設

mann率いるOcchioが行いました。Hel-

enによれば、「Stark

業で構築した照明コンセプトは、「俯瞰

的」に全体を捉えるというものでした」。

Architekteとの協

「一番嬉しかったのは、このビルが建て

られている過程と完成したときです。全て

のバーチャル画像や平面画像が形にな

り、文字通りこのビルが醸し出す調和を

感じることができました。美しく、有機的

で純粋な内装は訪れる者を迎え入れ、繊

細な雰囲気で満たされています」

CHINESE

设计酒店 IZB Residence 位于马丁雷德 生命科技学院的中心地带,是一座夺 人眼球的 27 米高建筑,共七层,设计 含蓄而典雅。该建筑由 Stark Architek- ten 担纲设计,用途为教授俱乐部,供 周边研究机构宾客和科学家作为会议 用地。该建筑是校园的交际中枢,由 Helen Neumann 领衔的 Occhio 负责

灯光设计。他曾评论到:我们和 Stark Architekte 携手开发了一套灯光理念, 呈现出一种“大视野”和全方位的感 官。 “让我印象最为深刻的,是建筑施工 阶段和建成的一刻。突然之间,所有 的视觉图像和 2D 方案都转化为现实, 你可以切实地感觉到一种和谐油然而 生。美丽、有机而简洁的内部装饰营 造出一种热情而感人的氛围。”

FRANÇAIS

L’hôtel IZB Résidence de sept étages est situé au coeur du Campus des sciences du vivant Martin- sried, et s’élève à une hauteur impressionnante de 27 mètres. Il présente un style très design, à la fois élégant et ajouré. Conçu par le cabinet

Stark Architekten dans le but de devenir le club de la faculté et servir de lieu de réunion pour les invités et les scientifiques des centres de recherche des environs, le bâtiment est l’axe de communication du campus. Il fut complètement éclairé par l’entreprise Occhio, géré par Helen Neumann, qui explique : «Avec Stark Architekte, nous avons développé un concept d’éclairage en gardant constamment en tête le “tableau d’en- semble” et le résultat final. Pour moi, le plus beau moment fut de voir le bâtiment durant sa phase de construction, puis ensuite, à son achèvement. Soudain, toutes les images virtuelles et les plans en 2D sont deve- nus réalité et l’on pouvait littéralement ressentir l’harmonie émerger. Un intérieur esthétique, épuré et naturel garantit une ambiance très chaleureuse et raffinée.

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PROJECT / IZB RESIDENCE, MUNICH, GERMANY

078 PROJECT / IZB RESIDENCE, MUNICH, GERMANY Along the corridors, Duna spotlights shape the walls and
078 PROJECT / IZB RESIDENCE, MUNICH, GERMANY Along the corridors, Duna spotlights shape the walls and
078 PROJECT / IZB RESIDENCE, MUNICH, GERMANY Along the corridors, Duna spotlights shape the walls and
078 PROJECT / IZB RESIDENCE, MUNICH, GERMANY Along the corridors, Duna spotlights shape the walls and

Along the corridors, Duna spotlights shape the walls and mark access to the lift area, while forming a symoblic tree trunk through the entire building. Also used in the G2B faculty club, the Duna spotlights have been arranged randomly in the ceiling and provide functional lighting for the diverse areas. In the bedrooms Occhio’s Sento range takes centre stage.

modern furnishings and a view of the Alps, serves more than 600 professors and some 100 managers and CEOs of the IZB on the campus, acting as a place for communication and the interdisciplinary interlocking of people and their ideas. The first member of the G2B was Professor Edvard Moser, winner of the Nobel Prize in medicine 2014. The open ground plan of the club, which stretches across the entire story is divided into different function areas and includes a spacious bar area creating an inviting atmosphere for discussion, while high seating elements providing a private framework for gatherings, and a private

dining area is available for business meals. There are 85 Duna shaped spotlights trailing across the ceiling – randomly arranged and providing functional lighting for the diverse areas, echoing the principle of the melding of architecture and lighting. Concluding, Neumann added: "The greatest moment for me was seeing the building during the construction phase and then again after completion. Suddenly all the virtual pictures and 2D plans turned into reality and you could literally feel the harmony that emerged. A beautiful, organic and puristic interior with a very welcoming and sensitive ambience was achieved." www.occhio.de

PROJECT DETAILS

IZB Residence, Munich, Germany Client: Operating Company IZB, Martinsried Architect & Interior Designer: Stark Architekten Architect Consultant: Andreas Oberrenner, Occhio Projects Lighting Design: Helen Neumann, Occhio Projects

LIGHTING SPECIFIED

Occhio Più alto spotlight Occhio Più piano recessed spotlight Occhio Duna recessed spotlight Occhio Sento letto LED wall luminaire Occhio Sento tavole LED table lamp Occhio Sento filo LED lower suspended lamp Occhio Sento lettura LED standing lamp Occhio Sento terra LED standing lamp

Das Designhotel IZB Residence mitten im Life Science Campus Martinsried erhebt sich als ein eindrucksvolles, 27 Meter hohes, sieben- geschössiges Gebäude mit einem prägnanten, eleganten Design. Stark Architekten hat das Gebäude als Fakultätsclub entworfen, der als Treffpunkt für Gäste und Wissenschaftler der benachbarten Forschungseinrichtungen dient. Es ist ein kommunikativer Schwerpunkt auf dem Gelände, umfassend beleuchtet durch Occhio unter Leitung von Helen Neumann, die folgen- den Kommentar abgegeben hat: „Zusammen mit Stark Architekten haben wir ein Beleuch- tungskonzept entwickelt, das stets das "größere Bild" und das Gesamtergebnis berücksichtigt hat. Der bedeutendste Moment war für mich, das

Gebäude während der Bauphase und dann nach Fertigstellung zu sehen. Plötzlich sind alle virtu- ellen Bilder und 2D-Pläne Wirklichkeit geworden und die sich daraus ergebende Harmonie war buchstäblich spürbar. Eine schöne, organische und puristische Inneneinrichtung mit einer sehr einladenden und gefühlvollen Atmosphäre wurde erzielt."

ITALIANO

OL’ hotel IZB Residence, situato nel cuore del Campus Martinsried Life Science, è alto ben 27 metri e comprende sette piani che sposano un design incisivo ed elegante. Progettato da Stark Architekten come un club di facoltà che servisse come luogo di incontro per ospiti e scienziati provenienti da strutture di ricerca circostanti, l'edificio è un pilastro comunicativo del campus, sapientemente illuminato da Occhio e diretto da

Helen Neumann che ha commentato: “Insieme

a Stark Architekte abbiamo sviluppato un con-

cetto di illuminazione tenendo sempre in mente

il “progetto finale” ed il risultato complessivo”.

"Il momento più importante per me è stato ve- dere l'edificio durante la fase di costruzione e

poi di nuovo dopo il suo completamento. Im- provvisamente tutte le immagini virtuali ed

i piani in 2D sono diventati realtà e si poteva

letteralmente sentire l'armonia che emergeva. Quindi è stato raggiunto l’obiettivo che avevamo

e cioé quello di unire un interno bello, organico

e minimal ad un ambiente molto accogliente e sensibile".

ESPAÑOL

EL hotel de diseño IZB Residence, ubicado en el corazón del Martinsried Life Science Campus, está levantado con una impactante altura de 27

metros compuestos de siete pisos y presentando

un diseño incisivo y elegante. Diseñado por Stark Architekten como un club de facultad, y al servir

como un lugar de encuentro para huéspedes y científicos de las instalaciones de investigación de los alrededores, el edificio es un foco de co- municación del campus que se encuentra ilumi- nado de forma exhaustiva por Occhio, liderado

por Helen Neumann, quien comentó: "Junto con Stark Architekte, desarrollamos un concepto de iluminación teniendo siempre en mente el pan-

orama completo y el resultado general”.

"El mejor momento para mí fue ver el edificio durante la fase de construcción y luego de la finalización. De repente, todas las imágenes virtuales y los planos en 2D se convirtieron en realidad y se podía sentir literalmente la armonía que afloraba. Se logró un interior her- moso, orgánico y purista con un ambiente muy acogedor y sensible."

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PROJECT / ONZE LIEVE VROUWE / AMERSFOORT, THE NETHERLANDS

Pics: Rob Acket BEACON OF LIGHT Dating back to 1470, Amersfoort’s Onze Lieve Vrouwe tower
Pics: Rob Acket
BEACON OF LIGHT
Dating back to 1470, Amersfoort’s Onze Lieve Vrouwe tower has been newly
enlightened by lighting designer Jeroen Jans, marking the tower as a central and
prominent structure in the local community.

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081 Standing at 98m tall, the Onze Lieve Vrouwe tower shines brightly over the geographical heart
081 Standing at 98m tall, the Onze Lieve Vrouwe tower shines brightly over the geographical heart

Standing at 98m tall, the Onze Lieve Vrouwe tower shines brightly over the geographical heart of the Netherlands, thanks to a light- ing makeover by lighting designer Jeroen Jans. While local authorities were enthusiastic about the project, there was no funding available and so Jans set up a non-profit organisation to raise the required funds in just nine months. Now considered a beacon for Amersfoort and its people, the tower’s lighting upgrade took two years to com- plete, with Jans envisioning the tower as “a magical structure projecting unity, balance and synergy through lighting.” Jans’ main objectives were to drastically reduce light pollution and achieve a 50% reduction in power. In order to achieve this, the lighting had to work from the inside

out, ensuring no external shining of beams onto the building, and no fixtures and fit- tings were visible. This vision was achieved with the help of light engineering company Lomans, which installed Osram Traxon and CLS LED lighting fixtures. The Osram fixtures includes two types of liners, the XB27 and XB36, both of which use different colour temperatures and lenses to give each part of the tower a specific texture. There were 138 CLS LEDs supplied in three types of fixtures - the Revo-basic, the Revo compact and the Mirjam. Each fixture has its own lens and colour configuration and is relatively small so doesn’t affect the building’s architectural aesthetics. The Revo fixtures lower the power consumption and limit the loss of light to reduce light pollu-

Oxram Traxon and CLS LED lighting fixtures shine inwards to hilight the beams and reduce light pollution.

tion, thereby exaggerating these aesthetic details with focussed and directed lighting. The Revo Series’ lenses are fully inter- changeable, lighting all details of the tower thanks to the different beam angles. The project was not without its challenges however and Jans described how it was difficult to fix anything to the tower without causing damage. In order to design skirt- ing boards for the three long walkways, Jans worked closely with Cultural Heritage Agency of the Netherlands to come up with something that could be integrated with existing security fences. The newly lit tower was revealed in No- vember last year with the local residents receiving it with enthusiasm and pride. www.jeroenjans.com

PROJECT DETAILS

Onze Lieve Vrouwe Tower, Amersfoort, The Netherlands Lighting Design: Jeroen Jans

LIGHTING SPECIFIED

CLS REVO Basic LED fixture CLS REVO Compact LED fixture CLS Mirjam fixture Traxon XB27 LED fixture Traxon XB36 LED fixture

PROJECT / NORDBAD, MUNICH, GERMANY

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