Luminous 8 INT

8/2/2019 Luminous 8 INT

1/56

International Lighting Magazine 2011/8 November

Composing with LEDsYas Island Welcome Pavilion, Abu Dhabi, UAEAn oasis of calm

Dynamics in Wismar

Francesco IannoneOcial recognition for lighting designer


2/56

2 EDITORIAL

Even after the many projects I have worked on and the inspiring lighting installations I see

every day in many places around the world, it is still fascinating to see and to try to

understand how design and technology go hand in hand to deliver the experience.

Without good design, technology has no meaning for us. The two inspire and strengthen

each other, and together give relevance to the things and concepts we create.

This edition of Luminous showcases design that links strongly with technology: we takea look at our partnership with Kvadrat which gives a new dimension to textiles, and other

features include the energy ecient solution for Il Sole 24 ore and the transparency of

ThyssenKrupps new campus headquarters, to mention just a few.

Understanding technology is one thing, but knowing how to create true value by adding

design is key. Designers have always taken up the challenge of using light to create

wonder, to tell a story, and to deliver a sign of beauty, as the architect Santiago Calatrava

puts it. Designers get under the skin of the user of the space, understanding what light

can do with people and how they respond to it. A fantastic example is the Phoenix

Childrens Hospital in Arizona, US, using light to calm and entertain the young patients

and their parents. The projects demonstrates the profound eect that light can have on

people and their wellbeing. The smiles on the faces of the children are priceless.

The Faculty of Architecture and Design at the University of Wismar in Germany

experimented in another way with the influence of light on health-related aspects of

wellbeing. Philips supported their experimental design seminar Dynamic Lighting -innovative and creative dynamic lighting concepts for public spaces. During the four-

month intensive workshop, the students created tremendous examples of feel what light

can do

Luminous presents some inspiring examples of exciting lighting. By engaging with you,

with architects, designers, engineers and many others, we create beautiful lighting

solutions that use ecient technology, touch the right emotions and require less energy.

Enjoy reading, and I invite you to continue the dialogue online at www.philips.com/

lightcommunity while we continue to enhance our lives with light.

Rogier van der Heide

Vice President & Chief Design Ocer

Philips Lighting

colophon

published by |Philips Lighting BV Mathildelaan 1, Eindhoven 5611 BD, The Netherlands www.lighting.philips.comeditor in chief |Vincent Laganiermanaging editor | Paulina Dudkiewicz steering committee | Melissa Hertel,Fernand Pereira, Matthew Cobham copywriting & editing | Ruth Slavid translations | Lion Bridge graphic designconcept | MediaPartners dtp | Relate4u printing | Print Competence Center more info | [email protected] nr | 1876-2972 12 NC 322263566482 cover | Yas Island Welcome Pavilion, Abu Dhabi, UAE photo | Martin Pfeier


3/56

CONTENT

The main task of a lighting designer is toorganise the lighting and comfort within aspace. When a new technology pops up, asLED did ten years ago, the profession facesa complete change of rules. Everything thatdesigners knew about life time, photometricdistribution, colour temperature and colourrendering, lumen depreciation, powerfactors and system reliability were suddenlycompletely dierent. In order to allowdesigners to make the most of the newpossibilities, recently the IEC, along with

a group of lighting organisations includingPLDA and IALD, put together a SpecificationGuide - an essential read.Designing LED lighting to work incombination with the transmissionproperties and specific nature ofarchitectural materials requires profoundknowledge and experience to achieve the

COMPOSING WITH

LED LIGHTING

OPENING STORY

SPORTING EMOTIONSPozna Stadium, Poland

DIALOGUE

INTERACTIVE LIGHTINGIn search of staying power

HIGHLY INSPIRING ENVIRONMENTFrancesco Iannone

LIGHT TALKDynamic lighting or media faade?

DOSSIERComposing with LED lighting

OASIS OF CALMYas Island Welcome Pavilion, UAE

DESERT BLOOMSPhoenix Childrens Hospital, US

LIGHTING FOR TRANSPARENCYThyssenKrupp Quarter, Germany

FEEDBACK

DYNAMICS IN WISMARStudents and Professors

LIGHT AND IMAGES3D computer lighting simulations

A TEXTILE BASED LED SOLUTIONBreitner Tower, The Netherlands

TOP CLASS PERFORMANCEPerseo Expo District, Italy

SNAPSHOTSix projects from around the globe

SPOTLIGHTBooks

30

26

4

best visual results. This is because thecomposition of the materials influences theway that the lighting eects are achieved.A transparent material like the ETFE roofof the Yas Island Welcome Pavilion in UAEis not easy to light with LEDs: page 20. Inthe conference rooms of the ThyssenKruppQuarter in Germany a special luminoussatin-frosted LED ceiling was used: page30. The acrylic tiles in the lobby of thePhoenix Childrens Hospital work with theLEDs to create a water eect: page 26.

These three projects involved renownedarchitects and experienced lightingdesigners. Enjoy reading about how theywere designed and please send us yourfeedback on the Light Community(www.philips.com/lightcommunity).

Vincent Laganier


4/56


5/56

LIGHT SOURCE

City Stadium, Pozna, Poland

By Krzysztof Kouyoumdjian

The stadium in Pozna is the first football arena completed in

Poland to host footballs Euro 2012 European Championship.

The stadium is notable for its dynamic, coloured lighting of th

outer faade, using LED lighting systems.

When, on 18 April 2007, Michel Platini, the president of UEFA,announced that footballs European Championship would takeplace in Poland and Ukraine, modernisation work was alreadyunder way at the Pozna stadium. The refurbishment project, whhas been proceeding in a number of stages since 2002, has beecarried out under the aegis of Polish firm Modern ConstructionSystems, which has completed many high-profile projects andunique structures.

Client

POSIR Pozna

Architect

Wojciech RyzynskiMCS, Poznan, Poland

Lighting solutions

Marek asiski, Philips PolandMathieu Sergent, Philips Lighting

Installer

Contrast Ostrow Wlkp.

Light sources

Philips LUXEON K2LED 3W, red, blue, green;MHN-SE 2000W /956

Luminaires

Philips Color Blast, LEDLine2

,ArenaVision MVF403

Lighting controls

Philips iPlayer 3

Websites

www.posir.poznan.plwww.mconstructions.pl

Sportingemotions

Above: While setting up the LED illumination on the platform that protects against falling snow in front of the faade, the team adjusted the tilt of eachluminaire individually.Left: The steel roof is covered by a membrane that curves down onto the faades.

J a c e k B a k u t i s


6/56

6 LIGHT SOURCE

The stadium, which is in the south-western part of the city, nearawica airport, was built in the early 1980s. Local football clubsuse it every day, and the Polish national team also trains there, butit also hosts many other events and concerts. In order to satisfyUEFAs Elite-class stadium requirements, its obsolete structure,

based on an earth embankment with concrete stands, had to becompletely rebuilt. Originally, the stadium had been surroundedby an embankment with stands in the shape of the letter U opening up to the missing stand. The intention had been to builda gymnastics hall and a swimming pool, but this idea was neverbrought to fruition. The design of the new stadium envisaged thedemolition of the old stands and the construction of four newstands using reinforced concrete, to hold 45,594 fans. They areof dierent lengths, from 130 to almost 190 metres, and dierentheights, from three to five storeys. This means that the shape ofthe structure is not simple in design and is lent variety by numerousrecessed terraces. The steel roof, said the architect WojciechRyzynski, made it possible to install the highest-quality lighting,meeting all the requirements for HDTV, around the steel platforms

where the pitch lights are installed.Since the owner of the structure is the local authority in Pozna,an additional requirement was to use energy-saving solutions inthe design, in accordance with the policy of the city, which foryears has been consistently focusing on the environment andon sustainable development, for example as host of theCOP 14 Climate Change Conference.

Master of the arenaThe pitch lighting has five dierent settings training, match,emergency, TV broadcast and standard HDTV. The lightinginstallation has seven optical systems and beam categories rangingfrom B1 (very narrow angle) to B7 (wide angle). The solution we

proposed enabled a better eect to be achieved, by reducing thenumber of lighting systems and reducing the level of power used incomparison with other systems. The reduced number of projectorsnecessary to illuminate the pitch also means a reduction ininstallation, operating and maintenance costs, said Marek asiski,

lighting application services manager for central Europe at PhilipsLighting Poland, who coordinated the stadium lighting project inPozna. To illuminate the pitch, Philips ArenaVision MVF404 systemwas used, comprising 300 luminaires providing illuminance of morethan 2500 lux in the direction of the TV cameras.

Faade in coloursDuring the first lighting tests, it became apparent that theluminescence of the material used for the faade of the stadiumwas so great that, when the originally planned installation methodfor the LED lighting was used, shadows were created on the surface,impairing the eect of the lighting. As a result of further tests,an optimal solution was found: the systems were powered frombelow and set at a distance of 6 to 9 metres from the material,

said asiski.A total of 195 Philips ColorBlast RGB LED projectors, plus a controlsystem and software, were used to illuminate the outer faade ofthe Pozna stadium, thereby enabling dynamic colour changes.As a result, the Pozna arena is endowed with the additional abilityto build emotion during sporting, entertainment events and concertstaking place in the stadium. This produces a really good shadoweect concluded Ryzynski. I think that I have succeeded withthis project. This stadium is atmospheric.


7/56

LIGHT SOURCE

Top: Five ColorBlast projectors are installed at 9 metre intervals.Bottom: The quality of light is close to daylight. By combining the design and the lamp properties, it brings visual comfort both to the players and to thespectators.

J a c e k B a k u t i s


8/56

InteractivelightingBy Ruth Slavid

How much more exciting it is to beable to infl uence the world around us.

This is what interactive lighting allowsus to do.


9/56


10/56

10 PERCEPTIONS

Page 8-10: Peoples positions and paths are traced by colourful avatars and eects. Ceiling and walls are composed of individual LED patterns and white LEDambient lights.Target Interactive Breezeway, Rockefeller Center, New York, US, Lighting design: Electroland. Website: electroland.net/projects/targetbreezeway/

E

lectroland


11/56

PERCEPTIONS

It is amazing to see people trying to work outwhat is happening.

We all influence our environments all thetime, whether by denting a cushion as wesit on it, making a noise when we slam adoor, or aecting the level of lighting byturning a switch on or o, changing thesetting of a dimmer or casting a shadow.But it is usually on the computer screen,and particularly when playing computergames, that we can actively aect aphysical situation. And because games

are constrained by the screen, they are,however addictive, firmly set in the virtualworld. How much more exciting it is to beable to influence the world around us.This is what interactive lighting allows usto do. It is based on presence detectionwhich, in its simplest form, has been usedfor decades to switch lighting on in ocesin response to movement, and to switchit o when that movement has ceased fora given period of time. Now, as detectioncan respond not just to any movement butto the details of movement, and with everbetter software, designers have taken up

the challenge of controlling light in a waythat is far less straightforwardly useful, butwhich oers wonder, entertainment andeven, in some instances, beauty.For lighting designers, it is not justunderstanding the technology that isimportant, but also appreciating the waythat people respond.

On the top floorCameron McNall, principal of US designerElectroland, thinks that response times arevital. If you judge what is happening nextto you according to your knowledge of the

world, he says, you expect a responsetime of about ten seconds. This is crucialfor McNall, because he believes thatinteractive lighting must be instinctive. Evenif people are not expecting an installation,they must be able to understand andappreciate it, and to start playing with theconcepts.There are other, more subtle,considerations. For example, at the

practices Target Interactive Breezeway atthe Rockefeller Center in New York, mostof the activity takes place on the ceiling.Unsuspecting visitors to the adjacent top-floor observation decks pass through thespace and activate avatars that follow themaround. We worked out a lot of dierenttechnical problems on this project, saidMcNall. God made us with very goodfrontal and peripheral vision, but with lessvision from above. In order to make visitorsaware that something special is happening,and that it relates to them, as somebodywalks in the whole space flashes briefly and

there is a sound. This alerts them to theexistence of something unusual, and allowsthem to deduce that it relates to their entry.The glowing ceilings and walls consist ofindividual pixels in white and colours. Eachvisitor is assigned a colour at random, whichfollows them around the room. Visitorsresponses range from bemusement tocuriosity to excitement and exhibitionism.It is amazing to see people trying to workout what is happening, says McNall. Inthis as in many of our projects there is atransformation. You enter the space and seepeople jumping around in odd ways. At this

point you are an observer and spectator.But then you transform into a participant.You become a performer for the next peowho walk in.You can see a similar level of connection other projects, many of them temporary,such as the installation Vous tes ici(You are here) which video artist MatthieuTercieux created for the Fte des Lumire(Festival of Lights) in Lyon in 2010. A kind

magic carpet showing places on the globat a variety of scales, it created connectiobetween them depending on the way thavisitors moved. Large numbers of peopleengaged in a space where otherwise theywould have felt, as strangers, that they wtoo close to each other. Children rolled onthe ground, adults ran around, and at onepoint there was even a spontaneous congof about a dozen people. For Tercieux it wa way of investigating concepts of placeand connection, but at the same time heis interested in the way that people reactto technology. He was particularly please

to see large numbers of children arrive onthe second day, following conversations aschool during break time.

On a wallThis was installed out of doors, as was thRabbit Wonderland created in Shanghaby local practice Super Nature, where avideo-game-type screen and a giant rabbwhose colours changed in response tohuman movement, were accompaniedby changing responsive graphics on anoverhead canopy and an adjacent buildinall set in the centre of a trac roundabout


12/56

12 PERCEPTIONS

MomentFactory

Page 12-13: Responding to the passerby on the street, its a window to culture. LED light bulbs react to movement-tracking devices to create this permanentinteractive installation.

Far more contemplative was the samepractices Beneath in which ghostly seacreatures floated silently on a wall, theirmovements responding to those of thepeople who are looking at them. Presentedat the International Science & Art Expositionin Shanghai, this took place indoors, ina controlled environment, in which theinteractive wall did not have to competewith the demands and sensations of thestreet. The same is true of the practicesDreamweaver, an interactive wall basedon fractal patterns that responds to themovement of people within the space.London-based rAndom International created

an interactive wall using a similar dreamlikeapproach with You Fade to Light, aninstallation designed for the Milan FurnitureFair of 2009 as a showcase of Philipsthen very new OLED technology. It tookadvantage of the even nature of the lightprovided by OLEDs to create a wall thatbehaved like a mirror. Unlike a conventionalmirror, where the reflection is dependent

on the ambient light in the room,YouFade to Light could create a reflectionwith a lit mirror in a darkened room.The potential elegance of this installationwas accentuated by the employment ofdancers to throw shapes onto the wall.Cool, simple and understated, the wallnevertheless exerts a great fascination onthe viewer. Just like a mirror, it draws youtowards it, and the lack of precise definitionsomehow adds to the attraction, as youstruggle to identify features of movement.

During a walkEqually understated is the same practices

installation which was outside the WellcomeInstitute in central London for severalmonths this year. Called Reflex it is basedon the idea of swarm behaviour (Wellcomesupports scientific research) and consistsof wires covered in small white lights thatrespond to the movement of passers-by. Being on the street is much moreinteresting than being at an exhibition and

showing an installation to a specific crowd,said Hannes Koch, one of the founders ofrAndom International. People dont alwaysknow what is going on. But people whogo past every morning start to interact.With other external installations, there isno danger of not being aware of what ishappening. Moment Factory, which is basedin Montreal in Canada, designed La VitrineCulturelle for its home city, a venue whereone can buy tickets for all the cultural eventsin the city. A bright interactive wall outsideis made up of 35,000 light bulbs, eectivelyforming the pixels of a giant screen. LikeShanghais Rabbit Wonderland this is

based on games technology, with forexample, giant rolling snowflakes racingalong beside passers-by. Frdric Bove ofMoment Factory says, It is a fun moment,during a walk, a way to surprise andentertain people and incite them to askquestions about the nature of where theyare ultimately to show that passers-by arethe actors of the cities, who contribute to


13/56

PERCEPTIONS

La Vitrine Culturelle, Quartier des Spectacles, Montral, Canada.Lighting design: Moment Factory. Website: www.momentfactory.com/en/project/street/La_Vitrine/

the creation of special moments.This degree of playfulness is not appropriatewhere vehicles are involved. Electroland hasproduced installations that interact both withmotorists and with pedestrians and cyclistson a footbridge. While the installations donot encourage the acrobatics of someother designs, they are still lively. Pulse, forexample, is a 45m long LED display in LosAngeles that is activated by passing cars.Drive By in North Hollywood is a 73m-longelectronic display that tracks passing cars,alternating between displaying letters thatspell out lines from famous Hollywoodmovies and abstract alphanumeric formsthat move with the cars, creating a brightred crash when two cars pass each other.It is a myth that these installations causea problem for drivers, says McNall. Videoboards and electronic billboards are farmore distracting.Technology has advanced enormously.McNall says that even now, the speedthat he wants in order to fulfil his dream of

creating realistic avatars is not available.The technology is just not fast enough, hesays. There are solutions that are very fast,but they just produce blobs. We use a videosystem that distinguishes between people.We would like to create an avatar that stayswith you, but to get that level of persistenttracking takes a little bit of time. Ourtechnology provider has prioritised accuracyover time.

Reactive lightingKoch enjoys playing with new materials,and found the opportunity to work withOLEDs great, because the brief was so

wide open. But, he says, technology andmaterials are really secondary. Its nice tohave access to interesting new materials,but what we are really keen on is being ableto express our ideas as clearly as possible.It is the danger of interactive lightingtipping over into simply showing o thetechnology that turns some people againstit. For instance, Koert Vermuelen of Belgian

designer ATC Lighting, says, In a lot oflight festivals or museum exhibitions wherinteractive lighting has been promoted, mbelief has been that it doesnt work. Toooften, he argues, if there are more thanone or two people present, you just get amuddle. Instead, he prefers what he callsreactive lighting which simply responds the presence of people. As an example hcites his own light sculpture, Ovo, designwith Odeaubois, which was shown at theLyon Fte des Lumires. Its gorgeous ovastructure was wonderfully lit, and it sat inthe middle of water. Being reactive simpmeant that it could switch o when nobodwas in it. In terms of technology, it couldnbe simpler. But the important thing is howlovely it is. And that is probably the lessonfor the future with interactive lighting. Mergasp-making technology will inevitably paand be superseded. But a truly beautifuldesign, interactive or not, should havestaying power.

M o m e n t F a c t o r y


14/56

14 PLATFORM

By Luigi Prestinenza

The newly elected president of the PLDA (Professional Lighting Designers

Association), Francesco Iannone was also president of its predecessor the

ELDA between 1999 and 2003. An architect with 30 years experience in

the field of architectural lighting design, he headed the Consuline agency.

What changes has he seen during the professions development and

where does he see it heading?

Highly inspiringenvironment

What has changed in the lighting designprofession since your presidency of what was

then the ELDA (European Lighting DesignersAssociation)?A great deal has changed in ten years. It seems like a long time haspassed since we set up the ELDA back in 1994. Those werepioneering times: when we founded the ELDA, there were only nineof us, and in just over 15 years it has expanded to boast amembership of more than 750 and changed its name to the PLDA,the Professional Lighting Designers Association.I remember that when we started out the public didnt reallyunderstand the role of a lighting designer. People couldnt grasp theadded value that this new professional figure could oer, orunderstand our cultural perspective. Nowadays the public is awarethat correct lighting design can significantly improve the qualityof life in cities, workplaces and cultural spaces, and can also benefit

Francesco Iannone, Lighting Designer, Consuline, Milan, Italy

leisure time. People also understand that its not simply a questionof ensuring that every environment is kitted out with high lux

numbers, but rather of creating surroundings where the light alsoexhibits quality and character. It is now a commonly held belief thata lighting designer is not just a technician but also an artist.Lighting doesnt just require calculations, but also an imaginativemind. This can even involve applying the most state-ofthe-artdiscoveries in the field of neuroscience in a creative way.Take the example of Giacomo Rizzolatti, a scientist in the runningfor a Nobel prize, who discovered that by using mirror neurons wecan better identify with what we see, triggering a kind of empatheticprocess. This perceptive process, which is performed by the brainrather than the eyes, can be activated more eectively by adjustingthe light to certain wavelengths. We successfully tested thistechnique in a large-scale exhibition in Rome, which was held tocelebrate the works of the Renaissance painter Lorenzo Lotto.


15/56

PLATFORM

In charge for the second-time: Francesco Iannone wants to see ocial recognition in Europe for the profession of lighting designer.


16/56

16 PLATFORM

Indirect lighting of the huge umbrellas above the grandstand gives a unique impression.

HerbertCybulska

What is the first quality of a lighting designer?As I told you previously, the main attribute of a lighting designeris creativity.This includes having a flair for aesthetics and a certain amount ofbackground knowledge. Only then can a lighting designer enterinto a dialogue with the architect or town planner and bring outthe best in their work.Imagine, for example, that you had to illuminate one of Gaudisbuildings. How could you succeed in this without becomingacquainted with his creative world? You would run the risk of

producing a timid, or aggressive, or careless vision of his work.It would also be a big mistake, to give another example, to treat apiece created by a futuristic artist in the same way as a Palladianchurch.Then there are the cases where an eective lighting design also hasto draw attention away from a buildings imperfections. In Shanghai,for example, while preparing the Formula 1 circuit the architect,Tilke, called on us to help give a new look to the back of theterraces, which comprised a long, 40-metre high construction witha rather unattractive reinforced concrete structure. Together wecame up with a plan to install metal grids and to project theradiating light so as to emphasize the grids and conceal the cementin the shadows.Finally, there are cases where it is the light itself that is to take

centre stage. On Asconas lake front in Switzerland, for example,we illuminated an enchanting row of plane trees using a light whichchanges from evening to evening to produce, and therefore betterexpress, the colours of that day and of that particular season. Byusing an elaborate software system which controls all the solar lightvalues on site, we were able to give the location back its light. Wecreated a display which is always dierent but is intimately linkedwith the characteristics of the landscape, gaining the immediateapproval of the mayor, the inhabitants and the designers of streetfurniture, none of whom wanted to use standard illumination with

the usual anonymous light.

How could the third PLDC congress change therules of the game?After Berlin in 2007 and London in 2009, our third conference,which is being organized jointly with VIA Verlag, will take place thisOctober in Madrid. When we first launched the congresses, basedon an idea by Joachim Ritter, we were worried that numberswouldnt exceed 400. In fact, more than a thousand people cameto Berlin, and the London conference was an even greater success.We are therefore hoping to get all the most highly qualifiedoperators in the sector involved once again. We would like to takethe opportunity at the third conference to propose that the role oflighting designer be ocially recognised within the European


17/56

PLATFORM

Exterior of the main grandstand showing the accent lighting on the building and its reflection on the water.Formula One race track, Shanghai, ChinaLighting design: Consuline.

Websites

www.pld-a.orgwww.consuline.net

H e r b e r t C y b u l s k a

Community. And that governments and public opinion develop alasting awareness that every important project should see theinvolvement of this professional figure who, when it comes to thetopic of light, is the most qualified to provide a creative response toissues of energy eciency, performance techniques andenvironmental comfort.

What is your vision of the future of lightingdesign?I see the future in a very positive light. And thats why our aim is to

achieve ocial recognition in the European Community within thenext three years.

Why is there still not a law in Europe to protectthe lighting design profession?Probably because there is still a lack of education on the subjectEven the manufacturers of lighting equipment themselves arelimited on the one hand to recommending designer lights and, onthe other, to providing technical assistance to ensure that theselights perform in a certain way. But they dont always focus on wlies between the light and the lux number, i.e. the quality of theenvironment; the atmosphere that you create. And only a goodlighting designer can achieve this highly inspiring environment.

What could be done to fill the gap between todaand tomorrow?Focussing on marketing and advertising, but also educating civilservants in particular. We need to make them understand that citshouldnt be illuminated in a careless, uniform manner, and thatquality of light is representative of quality of life, especially as wespend the majority of our time under artificial light these days.

How do you see the lighting design profession in10 years time?Optimistically. And Im positive enough to hope that young peoplwho want to enter this profession will discover more employmentopportunities.


18/56

18 LIGHT TALK

22-Jun-2011 16:56 in response to: Vincent LaganierRe: Dynamic lighting or media faade?

In my opinion are a media facade and dynamic lighting two completely dierent things. Dynamic lighting is a specific way of

using light in general - a media facade on the other hand is a specific kind of lighting installation on the outward surface of

a building structure which is usually using dynamic lighting...StefanMaassen

1 post since

7-Jun-2011

20-Jun-2011 14:43 in response to: Vincent Laganier

Re: Dynamic lighting or media faade?

It is important to distinguish between both terms. Im of the opinion that Dynamic Lighting is a method of applying light

whereby a Media Facade is a lighting tool. Dynamic Lighting and Media Facade have dierent ranks in hierarchy...Frederik

Friederichs

1 post since

7-Jun-2011

Light Talk is a column that brings to readers some of the most interesting

conversations that are taking place between young designers in the field of

lighting. These conversations, published in an entirely unmoderated form,

originally took place on our social media platform Light Community

www.philips.com/lightcommunity.

Read the complete posts and take part in the discussion on:www.philips.com/lightcommun

VincentLaganier

1postsince

17-Jun-2011

17-Jun-201116.30

Dynamiclighting

ormediafaade?

Howcanyouapplyd

ynamiclightinginarch

itecture?Howshould

youusemediafacad

etools?

Whatcontentcanyo

uexpressandwhy?

Basedonyourexper

ienceoftheDynamic

lighting

workshop@Hochshu

leWismar,Whatadv

icecouldyouoer?W

hatisyouropinion?

Tags:led,led_solutions,outdoo

r,design,lighting,bu

ilding_design,archite

cture,

hochschule_wismar,

dynamic,graphic,communication,med

ia_facade,image,fac

ade,

dynamic_lighting,vid

eo,media

18-Jun-2011, 2011 19:32 in response to: Vincent Laganier

Re: Dynamic lighting or media faade?

I think we can start by dierentiating what dynamic lighting and media faade are. I believe dynamic lighting is a whole

concept that as the name describes it, is a variable and changing lighting situation...

Daro Nuez

Salazar

1 posts sinceMay 29, 2011


19/56

Composing with

LED LightingOasisofCalmpage 20

DesertBloomspage 26

Lighting fortransparencypage 30


20/56

Oasisof calmBy Ruth Slavid

However much we value all the excitementin our lives, sometimes we just need anopportunity to draw breath. This is thethinking behind the lighting design of thewelcome pavilion at Ferrari World Abu Dhabiwhere lighting designer Speirs + Major hascome up with a solution that is deliberatelyrestful rather than overstimulating.

YAS ISLAND WELCOME PAVILION, ABU DHABI, UAE


21/56


22/56

22 COMPOSING WITH LED LIGHTING I

The building on Yas Island sits betweentwo major attractions. One is Ferrari World

Abu Dhabi, described as the worldslargest theme park and which is intendedto resemble a ground-hugging sand dunein signature Ferrari red. The other is a hugeshopping centre for which constructionhas only just begun. The idea was thatthis was the calming element between

the hustle and bustle of the two others,said Philip Rose, design associate withthe practice. It is an area of pause,somewhere quiet.With all this going on, it is evident that

Yas Island is not one of those islandswhere people go to get away from it all.Describing itself as an island unlike anyother, it covers 2,500 ha, of which 1,700ha are either developed or planned fordevelopment. Yas Island is separated fromthe mainland by a narrow spit of water, andis only 20 minutes drive from Abu Dhabiairport, or around 40 minutes from the

centre of the city. A new highway to Dubaiwill pass through it, making it even betterconnected. In addition to Ferrari World AbuDhabi and the shopping centre, it has the

Yas Island Circuit which has hosted theFormula One Abu Dhabi Grand Prix since2009. There are hotels, a marina and a golfcourse, plus plans for further theme parks.

Lighting ideaThe welcome pavilion, designed by Benoywhich is also the architect of Ferrari World

Abu Dhabi, measures 100m in diameter,and accommodates catering outlets on

two and three levels. Surrounded by wateron two sides, it has outdoor space besidea dramatic water feature not part ofSpeirs + Majors lighting responsibility. Themost striking element of the building is itsETFE roof, a curved form with the clawsextending beyond the perimeter of thestructure. In total it covers 12,000 m.Speirs + Major developed a solutionthat cycles colours in a slow, almostimperceptible way. We wanted a slowcross fade between colours, Rose

explained. It is not a disco but a place ofrespite. Its idea was that during the daythe colours should change over a periodof 20 minutes to an hour, and then thereshould be a celebration of sunset, withcolours going from yellow through red andmagenta to the dark blue of the night sky.

This dark colour would dominate duringmost of the evening.

Speirs + Major specified a number ofscenes to enable this scenario. It producedthe concept design, working closely withPhilips, and then the project was taken onby a local design team of Shankland Cox,working with local contractor Hitachi Bond.But Speirs + Major went back at the endof the project to make final adjustments tosettings.

Avoiding inter-reflectionsETFE is not easy to light, says Rose,because of the large number of inter-reflections that can occur when it is viewed

from within the building. In order to makethis less confusing, the designers electedto light elements of the structure as well,picking out the ribs in white light.In terms of the coloured lights, said Rose,We talked to Philips about the cost. Weknew the Color Kinetics range, and we feltit was the most appropriate product for the

job. The electrical engineers didnt want tochallenge our ideas, but pushed forwardwith our specification. The contractorsworked directly with Philips Middle Eastdivision.

The challenge with the geometry of the

roof was to get good coverage of all of it.Most of the fittings were sited in the roofstructure itself, but where the roof sweepsdown towards the water, it was necessaryto put some of very small fittings on theexternal ring beam.For the coloured light, Speirs + Majorspecified Color Kinetics Color Reachand Color Blast, and for the white lightit proposed Philips Beamer LED. Thedesigner also came up with the principlesfor the interior lighting of the building.

Client

ALDAR

Concept master plan

Benoy Architects, London

Ferrari World Abu Dhabi

Benoy Architects

Pavilion Architect

Benoy Architects (concept)Shankland Cox (executive architect)

Lighting design

Speirs + Major, London

Installer

Hitachi Bond

Light sources

Philips LUXEON LED 1W, red, blue,green

Luminaires

Philips Color Reach, Color Burst,Beamer LED

Websites

www.yasisland.aewww.speirsandmajor.comwww.lumasense.com


23/56

COMPOSING WITH LED LIGHTING I

Top: The challenge with the geometry of the roof was to get good coverage of all of the structure.Bottom: Most of the fittings were sited in the roof structure itself, like the Beamer LED at the intersection.

M a r t i n P f e i f f e r


24/56

24 COMPOSING WITH LED LIGHTING I

Lighting columns on the ground floor in redcreate a pathway leading to Ferrari World

Abu Dhabi. The underground car park hassimple downlighting, with some recessedcove lighting.

Choosing a solutionThe project required a certain amount ofresearch into the use of LEDs. Rose wasconvinced from the start of the advantages

that they could oer. They give flexibility incolour changing compared to conventionallight sources, he said. The fixtures aresmaller than for colour changing withmetal halides. It is more cost-eective thancreating the same eect with conventionallight sources. And the long lamp life makesmaintenance easier.The issue was with the high temperaturesin which the LEDs would have to operate.We did investigate their suitability foruse in the desert, said Rose. Thermalmanagement has to be very good, as theydont like to operate at high temperatures.

If the lamps become too hot, then theirlifespan could be severely compromised. Itis necessary in a hot environment to ensurethat the eect of daytime heat does notcombine with the heat of the lamp when itis switched on to create an unacceptablyhigh temperature. We wanted to go witha reputable company who could reassureus that the lamps would be stable atthese extreme temperatures, said Rose.

In the early days of the project we talkedto Philips about the temperature, anddiscussed the ideas. And we lookedat issues of humidity as well as oftemperature.In an ideal world, every designer wouldsee their project all the way through tocompletion, but Speirs + Major alwaysknew that it would be handing over thedetailed design and installation to localorganisations. Working remotely is alwaysdicult, said Rose. And only taking thedesign to a certain point and then handingover, makes you wonder how much will

be lost in translation. He had the idealopportunity to find out, since the practicewas invited back at the end of the projectto programme the lighting scenes and tofine-tune the focussing. There were one ortwo details, he said, where if we had beenthere throughout the project, we wouldhave been able to test ideas and to changethem a little. But overall the light eect isvery good, and we are very happy.

A poetic elementVisitors to the building should be veryhappy as well. There is a poetic element tothe concept. As the too-bright sun of AbuDhabi starts to fade at the end of the day,what could be nicer than to get away fromthe consumerism of the shopping mall orthe urge towards ever greater excitementat Ferrari World Abu Dhabi, to sit down anddraw breath, to have something to eat andenjoy the proximity of water, in a pavilionwhose lights subtly and gently produce asensation of an ideal sunset?

They give flexibility in colour changing comparedto conventional light sources.


25/56

COMPOSING WITH LED LIGHTING I

In an ideal world, every designer would see their project all the way through to completion, but Speirs + Major always knew that it would be handing over thdetailed design and installation to local organisations.

M a r t i n P f e i f f e r


26/56


27/56


28/56

28 COMPOSING WITH LED LIGHTING II

Scott Oldners drawing of the lighting in the lobby.

luminaires, descend the front of the building and serve as a canvasfor animated displays of colour. White cold cathode fixtures framethe colour-changing LED fixtures on the exterior to intensify theireect.The long runs of exterior luminaires merge with runs of linear

luminaires in the lobby area, connecting the buildings faadevisually with its interior. iColor Cove MX Powercore fixturesuplight the lobby and dining corridor at dierent heights, creatinga cheerful, ever-changing experience. These fixtures are alsoembedded in the ceiling domes, alongside lensed fluorescentfixtures, to illuminate the hallway with bright, vivid colours.

Water featureThe initial design called for an indoor wall water fountain in themain corridor, but due to cost constraints the water feature wasreplaced by an innovative lighting solution that produces water-likeeects. Textured wave-patterned acrylic tiles line the corridor fromfloor to ceiling, and concealed iColor Cove MX Powercore fixturesuplight the tiles with video eects in various shades of blue and

aqua. To add more life to the water wall, Martin smartMAC movingheads with custom water gobos project moving patterns on thefloor, ceiling and walls.The installation uses a single Light System Manager, an Ethernet-based lighting controller from Philips Color Kinetics, to control all

LED lighting fixtures and moving heads throughout the building.An integrated Lutron LCP 128 lighting management systemswitches o house lights and intensifies the colours in the lobbyand corridor as night falls.

Eect on patientsBecause of the flexibility and the high level of support from Philips,Oldner was able to create a carefully orchestrated experiencethat closely matched his renderings, satisfying both the projectsaesthetic demands and the building owners. The LED lightingsystem has an extreme calming eect on patients as they arriveat our new facility you can see it on their smiling faces as theyenter the atrium, said Dave Cottle, executive director of planning,design and construction at Phoenix Childrens Hospital.

The LED lightingsystem has an extremecalming eect on

patients

B

lakeMarvin/HKSInc.


29/56

COMPOSING WITH LED LIGHTING II

Top: The welcoming ambiance gives visitors a positive impression of the childrens hospital.Bottom: LED direct-view vertical luminaires act as a canvas for animated displays of colour on the faade.

B l a k e M a r v i n / H K S I n c


30/56

THYSSENKRUPP QUARTER, ESSEN, GERMANY


31/56

Lighting fortransparencyBy Paul Haddlesey

In the design of a new campus headquarters for global materials andtechnology group ThyssenKrupp, lighting has played a key role in boththe buildings and the grounds. Alexander Rotsch, lighting designerwith Licht Kunst Licht AG, explained to Luminous how his designcomplements the underlying transparency and openness ofthe campus.


32/56

32 COMPOSING WITH LED LIGHTING III

The new ThyssenKrupp Quarter has been designed to an urbancampus concept in the heart of one of the largest downtowndevelopments in Germany. The Quarter campus covers anarea of 17 hectares with around one-third as built-up area comprising several buildings - and two-thirds as open green areas.Sustainability is a key element of the design brief, and the projectslighting makes extensive use of controls, combined with high-

ecacy light sources.The leitmotif of the architectural design is the idea of voids cut out ofsolid cubes. This is most apparent at the Q1 headquarters building,a 50m high structure with immense panoramic windows that enablenatural daylight to fully interact with the lighting concept.First impressions are important and the lighting in the canopy atthe entrance to Q1 has been designed to give the right impression,as Alexander Rotsch explained: The lighting concept for theentrance supports a sense of dynamics to this prominent part of thebuilding, he said. The graphical layout clearly marks the directionof the circulation zone, while the powerful direct light is a palpablereference to the quality of the interior lighting concept.

Brightness in ceilings

In the canopy, high-power LEDline luminaires are recessed in anirregular layout applying directional light to the floor. The reflectionfrom the ground illuminates the bottom view and makes thearchitecture look weightless and floating. We have used existingseams between the anodized metal panels to house the LEDluminaires.In the conference room a specially designed luminous LED ceilinghas been created, and the designer worked closely with Philips toachieve the right eect. The original idea was to create a lightingelement employing cutting-edge technology whilst concealingthe actual light sources, Rotsch recalled. The design processinvolved the development of various samples in order to obtain theappropriate satin-frosting of the cover, the number of LEDs andtheir spacing.

ClientThyssenKrupp AG

Architects

JSWD Architekten, CologneChaix & Morel et Associs, Paris

Project Management

ECE Projektmanagement GmbH &Co. KG, Hamburg

Lighting design

Alexander RotschAndreas SchulzLicht Kunst Licht AG, Bonn/Berlin

Installer

Ritter Starkstromtechnik, Dortmund

Light sources

Philips LUXEON LED K2 1W, neutralwhite

Luminaires

Philips LEDline2, Color Graze,Customised LED ceiling panelsCustomised pendant luminaires

Websites

www.jswd-architekten.dewww.chaixetmorel.comwww.lichtkunstlicht.com

The graphical layout clearly marks the direction ofthe circulation zone.


33/56

COMPOSING WITH LED LIGHTING III

LEDline luminaires have been recessed in an irregular layout within the canopy. They are housed in existing seams between the anodized metal panels.

L u k a s R o t h


34/56

34 COMPOSING WITH LED LIGHTING III

Apart from a diuse spatial component it also integrates an optical

system that creates direct, powerful light on the conference table.

The light atmosphere within the space can be influenced by dimming

the LED components of the ceiling element as well as dimming and

switching the peripheral cove light, wallwashers and downlights.

Metal curtainsA similarly strongly focused lighting concept underlines the

character of the Casino restaurant. Above the tables, which have

been arranged orthogonally to the window front, there is a large

bespoke pendant ring chandelier with a direct and an indirect

lighting component. This is supplemented by a light cove that traces

the outline of the spatial segments.

The tables in the Casino restaurant are grouped in pairs, separated

by ceiling-suspended filigree metal curtains and chest-high

partition walls. Here, Licht Kunst Licht has integrated Color Graze

luminaires with the partition walls, so they can add dynamic light

to the reflective curtains if required. By applying coloured light to

the curtains an emotional component is added to the minimalistic

Transparency of the top-floor

conference room from outside.L

ukasRoth

design of the space, Rotsch explained. The lighting components

within the restaurant can be controlled separately to create dierent

eects in line with the various uses of the space.

The visual comfort that has guided the design of the interior

lighting is also apparent in the exterior lighting. Glare from light

points is avoided by the use of strongly shielded luminaires with acustomised light distribution. Pole-mounted luminaires are blended

with the trees on the main paths along the water basin, while

bollards flank the smaller trails and concealed LED strips outline the

water edge.

Reliable partnersThe lighting at the ThyssenKrupp Quarter is characterised by

its innovative use of the latest lighting technologies. In order to

achieve high-quality results you need reliable partners. Philips has

the necessary technical expertise concerning luminaire construction

as well as lamp technology, so that very good products were

developed and implemented for this project, Rotsch concluded.


35/56

COMPOSING WITH LED LIGHTING III

Top: Ceiling plan of the conference room lighting from Licht Kunst Licht.

Bottom: The specially designed luminous LED ceiling provides direct and diuse powerful light that is appropriate for meetings.

L i c h t K u n s t L i c h t A G

C h r i s t i a n R i c h t e r s


36/56

36 WORKSHOP

FrankAlexanderRmmele


37/56

WORKSHOP

Dynamics

in Wismar

By Michael F. Rohde

On 10 June 2011, students and

professors from the Faculty of

Architecture and Design at the

University of Wismar in Germany

organised a joint exhibition with Philips

of innovative and creative dynamic

lighting concepts for public spaces.

The Hanseatic city of Wismar is on theNorth Sea coast of Germany. Here, closeto the city, you can find the campus ofthe University of Wismar, with its Facultyof Architecture and Design (FG), oeringcourses in architectural lighting design(ALD), communication design and media,architecture, interior architecture andproduct and jewellery design. There areabout 2,000 square metres of laboratoryand workshop space available to the

approximately 600 students in theFaculty of Architecture and Design. Sincethe individual specialisms are often aninspiration to each other and overlap intheir subject areas, an important part of theteaching involves interdisciplinary workingand how to organise it structurally.The two-year Master of Arts (MA) coursein Architectural Lighting Design is aninternational course taught in English.Students attend lectures and practicalsessions about planning the use of daylightand artificial light in architecture. A highpriority is given to studying the relationships

Staircase group project

Olga Galkova, Fernanda Montecinos, DaroNuez, Volha Pakholkava, Natasa Rajic,Menekse Seyma Kaya, Julie Wangsajaya,Linlin Yang

between people, light and space.Going beyond simply teaching the principof architectural lighting, great importance attached to including health-related aspecof light. Light, health and how a feelingof well-being can be induced by light are

important subjects for the future and so tform a focus in current teaching alongsidegeneral lighting design.In view of the ever-growing importanceof the concept of the media facade,an international workshop on the themeof Dynamic Lighting has been held inWismar since 2007. Under the leadershipProf. Michael F. Rohde, the topic of mediafacades and dynamic lighting is examinedand discussed during the summersemester, initially in the form of seminars.The practical workshop week is plannedand prepared at the same time. This is he

at the conclusion of the course, just beforthe end of the summer semester, and takthe form of a practical exercise in the Facof Architecture and Designs own Buildingbuilt in 2000.

Using light to define spaceLight is the material from which night-timearchitecture is built, and the medium thatcreates the illusion of dynamic space. It isequally able to transform both solid wallsand transparent facades, to make themlook as if they are moving or almost to mathem disappear altogether.


38/56

38 WORKSHOP

This was the subject on which the Facultyof Architecture and Design at the Universityof Wismar, for the third time and withgenerous support from Philips ColorKinetics and Pharos, invited students on allcourses to attend a practical, experimentaldesign seminar under the leadership ofProf. Michael Rohde (architectural lighting

design), with assistance from Prof. HankaPolkehn (communication and media) andProf. Bettina Menzel (interior architecture).

InternationalismThe light installations were the result ofa four-month interdisciplinary workshopon the theme of dynamic lighting. 22students on the ALD, architecture, interiorarchitecture and communication designcourses used the latest LED technology toilluminate three architectural features afacade, a bridge and a staircase on theUniversity of Wismar campus.

FrankAlexanderRmmele

The theme for all three groups wasInternationalism, which was alreadyreflected within the group, with participantscoming from four continents. The mainway of expressing internationalism was tobe by the use of colour. Starting with thecolours of the five Olympic rings, and evenincluding specific colours for particular

cultural groups, the innovative LED lightsthat were used for the workshop wereexcellent lighting tools. With the help of thetechnically adept professionals from Philips,some very impressive installations werecreated in the form of light compositionsthat you could walk through and soexperience close up, designed for the threespecially selected locations. This year onceagain, awareness of what the workshophad achieved was enhanced by theimpressive experimental documentation ofthe installations, produced by students onthe communication and media course, who

used film and photographic media to ensurethat people could witness the dynamism ofthe light and space experience even afterthe short period during which the actualpresentation could be viewed.

People enjoyedThe Mayor of Wismar, the rector of the

university, numerous professors, studentsand university sta and a pleasing numberof local people enjoyed seeing sophisticatedlight installations of the kind you mightexpect to find in the major cities of the world but not, perhaps, on the North Sea coastin Germany!

Websites

http://www.fg.hs-wismar.de/de/aktuelles/aktuelles_ansicht&nid=216http://community.lighting.philips.com/blogs/WismarProjects/

Bridge Group projectFrederik Friederichs, Christine Holzke, Stefan Maassen, Juan Felipe Rivera, Piyanut Siramanakun,Isabella Trybula, Daniel Witzler, Lin Zhang


39/56

WORKSHOP

Facade Group project

Audry Brandsma, Jrgen Eisenhauer, Melanie Heilgeist, Janine Jeserig, Elena Kozlova, Akarsh Mahendra, Vikramaditya Varma

F r a n k A l e x a n d e r R m m e l e


40/56


41/56

CONCEPT CORNER

By Peter Kort

Images are a powerful medium for designers. They use the

for inspiration, in developing concepts and to visualise idea

Throughout history, designers and artist have used images

in a wide number of ways. The role of light is often a crucia

factor in an image. This was already known and clearly

demonstrated by the painters of the golden age of Dutch

art (15681648). The most famous master of light of that

time was Rembrandt van Rijn who painted the Nachtwach

(1639-1642) (The Night Watch).

The matrix demonstrates that when lightgroups are rendered separately, softwareallows you to combine them in an easy way.It makes it possible to test multiple scenesin a short time. It also allows you to testhow controls can set your scene or howdynamic eects might appear.

Lightand images

Peter

Kort


42/56

42 CONCEPT CORNER

Lighting design can be either normative or creative(1). Normativelighting design is driven by norms and regulations that prescribelevels of illuminance and ratios that must be fulfilled. The purpose ofregulations is to define minimum standards, which can be achievedby the verification of numerical indicators. It has, however, becomedicult, even impossible, to do lighting design in this way. Lightingdesign, like architecture, is not about fulfilling regulations. In factthis is entirely the wrong direction from which to approach lightingdesign. Regulations are just there to provide minimum standards,

but they will not automatically result in a solution that fulfils all theconditions.True lighting design is much more concerned with the question:How can it contribute to the architecture? We have only hadelectricity since the end of the 19th century, so from thatperspective it is perhaps strange that many architects havealready embedded 3D simulations of such a new technology intheir working methods. They use them not only to create stunningrenders but also to validate buildings via 3D models againstLEED and BREEAM standards, looking to create zero net energybuildings. Today some architects use the 3D model to an evengreater extent, sending it directly to the contractor who creates thecomplete building from the received 3D model. This reduces errorsand failures to a minimum and increases eciency significantly

during the building process. Today this workflow is better known asBIM (Building Information Modelling). The quality of information thatis added to the 3D model is crucial, since one is adding intelligenceand not just creating nice pictures.

Time to be dynamic?It is no surprise that in architecture 3D (visualisation) is oftenthe minimum standard. Some architects will even tell you thatthe time of stills has passed, and that presentations should be

dynamic, to reflect the real world around us. Lighting designmust not lag behind. The integration of artificial lighting intoarchitecture is becoming more and more the standard, alongsidethe growing importance of controls and video eects whichdemand visualizations of the lighting design. This is especiallyimportant if you want to verify quantities that cannot bedescribed in terms of figures and charts.On the other hand simulation costs time, much of which is spenton modelling geometry, which has nothing directly to do withlighting design. And as a rule the result remains abstract. Is itworth the eort? What is the level of detail in the render andis it appropriate for the phase of the project? Does the clientexpect to receive exactly what he sees on the picture? It bringsexperts into a position where they discuss what photorealism

Lighting design, like architecture, is not just aboutsatisfying regulations.


43/56

CONCEPT CORNER

Dierent scenes can be testedand controlled rapidly once the 3D

model has been built. Materialsin the scene can be varied as

well as the colour of the light. Inthis example the model has been

rendered once with cool whitelighting and once with warm lighting

applied to the spots and the floor-standing luminaire. This has a huge

influence on the atmosphere of theroom and on how materials appear.

is, whether it really exists and what its purpose is. But thosewho still question the value of a render should realise that manyarchitectural projects today in China are often sold only viarenders. Our world is completely image driven and the demandfor it will only grow.When we talk about visualisation (in lighting design) we have to

question the purpose. We have to realise that it is not the detail

that always matters, or the photorealism. In Berckheydes(2)

work

it was the light that made the painting. In that sense we can say

that the desirable image depends on the goal, message and thepurpose as well as the phase of the project. But there is one

extra very valuable aspect in there: the experiment. A virtual

environment allows the designer to test his ideas in a fast and

convincing way for himself and for the customer: after all, lighting

design is all about creating exciting environments, with better

lighting.

(1) DIAL. DIALux 4 visualization. Consulted on 15-06-2011

(2) Wikipedia. http://nl.wikipedia.org/wiki/De_bocht_van_de_Herengracht.Consulted on 10-06-2011

P e t e r K o r t


44/56

44 BLUE SKY THINKING

Philips luminous textile with

Congress centre lounge, Philips Luminous textile panels, Eindhoven, The Netherlands

LeonVerlaek


45/56

BLUE SKY THINKING

A textile based

LED solutionBy Isabelle Arnaud

Textile panels with embedded LEDsare the latest innovative solution from

Philips Lighting: creating movements

of colours and images on fabrics to

turn architecture into animated spaces.

Interior architect Olav de Boer explains

how he used this new experience of

lighting in his designs for the Breitner

Tower in Amsterdam.

Floris Provoost, product manager for largeluminous surfaces at Philips Lighting B.V. inEindhoven remembers the beginning of theadventure. Originally, we had the idea of

merging textile and LED technology to bringlight close to people, to bring i t to the body.So we created T-shirts, jackets, bags andfurniture, making light a completely dierentexperience, he says.But, he continues, in 2009, Philipsdecided that as a health and well beingcompany we should refocus on a marketthat had a better fit with the Philips goal,and we had to refocus and find anothermatch between light and textiles. Ourmarket research came up with a newproposition: luminous textile panels to bringspaces alive.

A new concept for architectuand interior designFor the development team there were twmajor challenges: quality and feel, andsimplicity. Each luminous textile panel isbuilt up of multi-colour LED modules witha 60 mm pitch fixed to acoustic foam.In order to meet the requirements ofquality, Philips partnered with Kvadrat, tEuropean leader in the market of design-textiles. The luminous textile panels arefinished with Kvadrat textiles (seven diertextures in up to eight colours) and useKvadrat Soft Cells acoustic panels with

B

L D A

V M

e d i a


46/56

46 BLUE SKY THINKING

patented technology to keep the fabricunder constant tension with the aluminiumframe. This ensures that the fabric alwaysmaintains a perfect surface across theframe, regardless of changes in humidity ortemperature.Our panels come in standard andcustomised sizes, says Provoost, froma minimum size of 1,200 x 720 mm up to

a maximum size of 1,200 x 6,480 mm.Thanks to the addressable RGB LEDs, wecan create any colour. This means that wecan provide our clients with any kind ofcontent that they want (animated images,changing colours, static pictures, etc.).The luminous textile system oers freedomof textile, freedom of size and freedom ofcontent.Provoost explains that: the panels can bemounted on the wall or ceilings with boltsand magnets. Its as simple as that. Thatwas also part of the challenge: anybodyshould be able to install the panel. You plug

in the power and ethernet connector andthe system is ready to upload the content.Philips also delivers software that allows youto change the content whenever you wantand so to bring spaces alive.

How to change spacesThe solution is more about how to changespaces than about light and textile

technology. The panels can be attachedto walls and ceilings. Some projects havealready been completed including theBreitner Tower restaurant in Amsterdam.Olav de Boer of Procore was the interiorarchitect. The main question was to designa restaurant that would become a spacethat could be used all day for dierentpurposes: for meetings, as a workingplace, etc. So the space had to becomemulti-functional.Within the large space, de Boer createddierent smaller areas where people couldmeet in calm and relatively private spots.

I wanted to make sure that the restaurantwas dynamic and vivid throughout the day,even when the numbers of people weresmall, said de Boer, so we used colour,diversity and movement on the luminoustextile panels; thats how the idea fordynamic moving light screens first came tomind. We wanted people working there orjust coming in to feel at ease and privileged

to work in the Breitner Tower.The content designed by Boer togetherwith Provoost helps to identify the spacesand enforce their identity. Its interestingto see the eect of using more contrast,comments de Boer, of playing with more orless close up, etc. Sometimes people dontimmediately recognise what they are lookingat; but after a while they discover more andit makes them curious. Also we try to add amore artistic level to the images, making italmost a piece of video art.

LeonVerlaek

Entrance hall, Philips Luminous textile panels, Philips Lighting BV,Eindhoven, The Netherlands

BL

DAVMedia


47/56

BLUE SKY THINKING

Breitner Tower, Philips Luminous textile panels, Amsterdam, The Netherlands. Architect: Olav de Boer, Procore

B

LD

AV

Me

dia

L e o n V e r l a e k


48/56


49/56

GALLERY

By Emanuela dellIsola

The Perseo Expo District in Pero, site of the new

headquarters of the newspaper group Il Sole 24 Ore, has a

perfect mix of avant-garde architecture. Energy eciency,optimisation of space and high-quality finishes, as well

as a practical lighting system, satisfy the ever-changing

requirements of the complexs users. It is the only building

the Milan area to have been awarded a class A energy lab

The Perseo Expo District oce complex in Pero, on the outskirtsof Milan, is in a highly strategic position, near to the Nuovo PoloFieristico (the citys new trade-fair hub). In the next few years it wgain prestige thanks to the renovation works that will be carried oin preparation for Expo 2015.When the buildings owner, Galotti S.p.A., began construction in2006, it had two main objectives: firstly, the buildings architecturhad to blend seamlessly with the existing structures around it, ansecondly, its energy eciency had to be up to class A standardsThe solution put forward by the international architectural firmGoring & Straja Architects was to build two wings connected by multi-level glass-panelled walkway. This solved the problems arisfrom the structural constraints imposed by the building plot, andalso complied with Galotti S.p.A.s wish to have a complex thatcould be adapted for use by a single tenant or multiple tenants.However, it proved a lot more dicult to pinpoint a solution tooptimize all the energy and lighting sources in order to meet thespecifications required for a class A energy label. We didnt knohow exactly we could arrive at such a building back in 2006, andit was for this very reason that we conducted, during the works,as many as four value-engineering analyses so that we couldconstantly monitor the progress of the project, take any correctiv

Client

Galotti S.p.A.

Tenant

Il Sole 24 Ore S.p.A.

Architects

Goring & Straja Architects

Lighting design

Europrogetti Engineering

Light sources

TL5 2x24W /840 HFP

Luminaires

Philips SmartForm TBS460

Lighting controls

LuxSense

Websiteswww.galotti.it/perseowww.gasarchitects.comwww.europrogetti.biz

Top classperformance

Perseo Expo District Il Sole 24 Ore, Pero, Milan, Italy

Left: The two wings of the buildingare connected by a multi-level glass-panelled walkway and a grid structureover the top.


50/56

50 GALLERY

Weve been able to reduce our energyconsumption by approximately 30%

actions and eventually be granted the certification that the clienthad originally targeted. Everyone in the team worked resolutelyto achieve this goal, and this proved to be a winning approach,explains Eugenio Montissori, Project Manager at Galotti S.p.A.Philips Lighting played its part in these rigorous eorts to find moreecient solutions by devising, in partnership with EuroprogettiEngineering, a technical lighting plan that could be used to lightthe entire building, which has an area of more than 10,000 m.At the heart of this plan is an ecient system for automaticallycontrolling artificial light integrated within the SmartForm TBS460luminaire. It employs a system of optical sensors that is capable of

regulating the light emitted according to the amount of natural lightpresent. We selected these light fixtures due to their guaranteedlong working life, equal to around 20,000 hours, and their superioraesthetic eect, since they are embedded in the ceiling and thushave virtually no visual impact, explains Donato Fermi, worksmanager and light-fixture design coordinator at EuroprogettiEngineering.

Energy savingsThe Perseo building is fitted with sweeping glass-panelled surfacesthat enhance its aesthetic appearance but at the same time presenta challenge in terms of energy saving the buildings thermalrequirements (in terms of insulation, roofing, sunshades andcanopies) have to be reconciled with the typology and eciency

of the heating and air-conditioning equipment and the use ofrenewable energy sources, all the while keeping managementcosts as low as possible. By succeeding in bringing together allthe various factors relating to energy eciency, weve been ableto reduce our consumption by approximately 30%, and our costper square metre currently stands at around only 8 euros, which isalmost a quarter of what youd pay in conventional buildings, saysMontissori.

Working conditionsIn addition, the installation of LuxSense daylight sensors into light

fixtures has made it possible to keep the level of light in the open-plan oces constant during daylight hours, creating a comfortablebut energy-ecient working environment.The building has also made working condit ions markedly moreagreeable, being able to light work surfaces without glare orstraining employees eyes. This not only enhances the workingperformance of these employees, but also reduces costs arisingfrom maintenance or technical adjustments.Lastly, in addition to the practicality and performance factors, lightalso plays a key role in the building from an aesthetic perspective:in a shell that is highly transparent, extremely open and withhigh visibility by both day and night the way the building is litemphasises its linear geometry and i ts transparency.

Transverse section of the building from Goring & Straja Architects.

Goring&StrajaArchitects


51/56

GALLERY

Oces and meeting rooms have an ecient system for automatically controlling artificial light, integrated within the SmartForm luminaires.

A l e s s a n d r a M a g i s t e r


52/56

52 SNAPSHOT

Snog is a range of shops selling frozenyogurt. Cinimod Studios has used light-filled ceilings in imaginative ways in each ofthe six stores. The idea is based around aperpetual British summer.The store is completely lit with LEDs.Behind the ceiling are more than 400 stripsof RGBW LEDs, which can be individuallycontrolled using real-time audio and video

feeds to create constantly changing eects.Client

Snog Pure Frozen YogurtLighting Design

Dominic Harris Cinimod StudioBranding and graphics

ICO Design

As part of the project carried out inconjunction with chief contractor, zyavruElektrik, Philips developed a unique andextraordinary lighting solution. In addition toensuring overall harmony with the buildingdesign, the main goals of the project wereto provide adequate illumination, particularlyin the hallways, training rooms, workshopsand instructor rooms, and to illuminate thefaade to bring out its natural texture.

Client

Izmir University of EconomicsChief contractor

zyavru Elektrik

From a lighting perspective AB Grouppresented three challenges for thedesign. Philips innovative LED lightingtechnology was more than able to meetall three conditions by using DayZone andLuxSpace. A single system can manage allthe lighting, something that proved to be thedeciding factor in choosing Philips.

Client

AB GroupLighting designer

Marco Baronchelli - AB Group

Snog frozen yogurtstore, Chelsea,United Kingdom Faculty of Fine Arts,

Izmir, Turkey AB Group, Orzinouvi,Italy

C

inim

odStudio

S

inan

Keskin


53/56

SNAPSHOT

There are many examples of how light can enhance peoples lives. Here we

have selected six projects from across the globe, ranging from the sets for

a rock concert to a hospital. To read more about these and other projects,

please go to our website www.philips.com/lightingprojects

In 2005, the entire concert hall area ofBad Salzuflen was given protected statusas an outstanding example of 1960s spaarchitecture. However, by any architecturalstandards it failed to comply with manycontemporary norms and guidelines,and was in urgent need of renovation,particularly the lighting system. More than2,200 LED lamps were installed and inaddition to an annual saving of 25,000Euros it also reduces the amount of timerequired for replacing faulty bulbs in the

extremely high concert hall ceiling.Client

Concert HallArchitect

Friedrich Schmersahl - SBP ArchitectsElectrical planning

Heinz Mies - Mies & Reichelt GmbH

Since 2010 the main building of Mercedes-Benz in Brussels has housed a brand-newFascination Centre. With its anthracite-coloured floors and walls, the space has anultra-modern but at the same time a darkand empty feel. Consultancy and designstudio Publiganda and Philips developed a

120 metre long, four metre high LED wallwith approximately 200,000 RGB LEDs something completely unique.

Client

Mercedes-Benz Belgium Luxembourg

The Vegas Mall is one of the largestretail sites in the world and includes anamusement park, an 18-metre observatiowheel, a tower drop ride and an ice rink.But the real centerpiece of the developmeis the recreation of Tokyos famous Ginzashopping street; a unique lighting challen

that demanded the most breathtaking ofsolutions. Philips LED lighting solutionswere the perfect choice to create the malextraordinary lighting experience.

Client

Crocus Group

Concert Hall, Bad

Salzuflen, GermanyMercedes-BenzFascination Centre,Brussels, Belgium

Vegas Mall, Ginza,Moscow, Russia


54/56

54 SPOTLIGHT

The Architectureof Light, RecentApproaches toDesigning with NaturalLight

Author: Mary Ann Steane

Publisher: RoutledgeISBN-13 paperback: 978-0-415-39479-6ISBN-13 hardcover: 978-0-415-39478-9246 pages

Reviewing the use of naturallight by architects in the eraof electricity, this book aimsto show that natural light notonly remains a potential sourceof order in architecture, butthat natural lighting strategies

impose a usefully creativediscipline on design.Considering an approach toenvironmental context thatsees light as a critical aspectof place, this book explorescurrent attitudes to natural lightby oering a series of in-depthstudies of recent projects andthe particular lighting issuesthey have addressed. It givesa more nuanced appraisalof these lighting strategiesby setting them within their

broader topographic, climaticand cultural contexts.

Architectural Lighting,Designing with Lightand Space

Author: Herv Descottes,Cecilia E. RamosPublisher: PrincetonArchitectural PressISBN-13: 978-1568989389144 pages, 177 colourillustrations, paperbackLanguage: English

Architectural Lighting, the latestaddition to the ArchitectureBriefs series, provides botha critical approach to and aconceptual framework for

understanding the application oflighting in the built environment.The key considerations oflighting design are illuminatedthrough accessible texts andinstructional diagrams. Sixbuilt projects provide readerswith concrete examples ofthe ways in which theseprinciples are applied. Shortessays by architect StevenHoll, artist Sylvain Dubuisson,and landscape architectJames Corner explore the role

of lighting in defining spatialcompositions.

Light Volumes: Art andLandscape of MonikaGora

Author : Lisa DiedrichPublisher :BirkhauserISBN-13 : 978-3034607575208 pages, available fromDecember 2011

Language: English

Landscape architecture canbe a discipline of planningthat creates everyday worldsjust as architecture does orit can assert its position asan art form and produceextraordinary works that takeon communicative tasks. Goraswork reveals a playful approachto the environment and provesthat the built landscape neednot be a deadly serious matter

but rather is there for thesenses: for astonishment,brooding, an aha or a laugh,somewhere between intellectand sensibility, beyond thematerialism of garden andlandscape architecture andfar from the conceptualismof museum art. This isdemonstrated, for example, byher amorphous light objectscalled Jimmies, which providewhite or coloured light forplaygrounds, housing colonies,

while also inviting people to sitor climb on them.

Hadid, complete works

Author: Philip JodidioPublisher: TaschenISBN-13: 978-3-8365-0294-8600 pages, hardcoverLanguage: Multilingual Edition:English, French, German

Zaha Hadid is a wildly

controversial architect, who for

many years built almost nothing,

despite her designs winning

prizes and critical acclaim.

Hadid has designed radical

architecture for over 30 years.Covering her complete works

to date, and all of her recent

work from Dubai to Guangzhou,

this XL tome demonstrates

the progression of Hadids

careerincluding not only

buildings but also furniture and

interior designswith in-depth

texts, spectacular photos,

and her own drawings. Also

included is a special section

with translucent vellum paper

allowing multiple layers of

designs to be viewed at once orseparately.


55/56


56/56

Go to www.philips.com/luminous for a digital version of thecurrent and previous issues of Luminous. You can also readand subscribe to e-luminous, our digital newsletter. Go onlineand continue to be inspired!

MORE INSPIRATION?

LUMINOUS ONLINE!

Luminous 8 INT

Documents

Transcript of Luminous 8 INT