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THE INTERNATIONAL MAGAZINE FOR DESIGNERS WITH LIGHT #83 2015
DARC AWARDS LAUNCH PARTY EXTERIOR LIGHTING FESTIVALS OF
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018 CONTENTS
[feb/mar]
048 Interview Jill Entwistle gets to grips with Lucent founder
Michael Dunk.
Front cover pic: Fulton Center, New York supplied by
Grimshaw.
022 Editorial CommentThe darc awards has finally arrived.024
PostcardCourtesy of Factorylux and Light Collective.026
HeadlinesThe latest industry news.028 darc nightNews from the darc
awards launch party.030 Eye OpenerFlylight, Het Noordbrabants
Museum, The Netherlands032 Drawing BoardOur preview of proposed
projects.036 SpotlightA selection of brand new projects from around
the world.042 BriefingWe talk to Rogier van der Heide, Zumtobels
new Head of Design and Marketing. 044 SnapshotIntroducing South
African practice Pamboukian Lightdesign.046 Lighting TalkJennifer
Hamilton, founder of The Vawdrey House, talks light.154
InspirationsIllustrator / architect partnership, Nanotak.
DETAILS ART & DESIGN TECHNOLOGY
086 Fetes des Lumieres, LyonPaul James pays the worlds most
established festival of light a visit.092 Amsterdam Light
FestivalPaul James takes a canal stop tour of this impressive
event.100 Enlighten ManchesterA pilot lighting project showing
promise.104 Dark Source StoriesThe latest installment in Kerem
Asfuroglus dark vision of light.
106 Geoff ArchenholdSmart lighting and an industry slow to
react.109 Christopher Kit CuttleThe difference between vision and
perception.112 Case StudiesA 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
AwardStrijp-5 in Eindhoven is victorious.132 Rethink The
NightHellenic Illumination Committee workshop.134 Bench TestDavid
Morgan looks at Trinitys new range of slick and stylish exterior
lighting bollards.136 Exterior Lighting Product GuideInside out
fittings.144 Euroluce PreviewWhats coming up in Milan.146 New
Product GuideBrand new products for 2015.152 Event Calendar
092
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020 CONTENTS
[feb/mar]
PROJECTSPROJECTS
054 Novo Nordisk HQ, BagsvrdWinner of the 2014 Danish Lighting
Award, the Novo Nordisk campus is the clever work of Grontmij and
Henning Larsen Architects.
062 Chifley Tower, SydneyPointOfView brings the buildings Art
Deco styling to life through a creative lighting update.
PROJECTS
OnlineWatch Grimshaw Partner, Vincent Chang and Artist, James
Carpenter as they discuss the Sky Reflector-Net at the Fulton
Center, on www.mondoarc.com
068 Fulton Center, New YorkFeaturing Grimshaw design, in
conjunction with Arup, and daylighting design from James Carpenter
Design Associates.
074 IZB Residence, MunichAt the heart of Martinsried Life
Science Campus sits an elegant space brought to life by Occhio
lighting.
080 Onze Lieve Vrouwe, AmersfoortDutch designerJeroen Jans turns
the tower into a central and prominent structure for the
community.
083 Nordbad, MunichThe iconic historic swimming pool receives
renovation to its lighting designed by Gabriele Allendorf Light
Identity.
074 080 083
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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 couldnt 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 thats 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. Were
listening.
EditorialEditorPaul James ([email protected])
Deputy EditorHelen Fletcher ([email protected])
Editorial AssistantRob Leeming ([email protected])
Editorial InternFemke Gow
AdvertisingAdvertising ManagerJason Pennington
([email protected])
Advertising Sales ExecutiveJohn-Paul Etchells
([email protected])
SubscriptionsAmy Wright ([email protected])
ProductionDavid Bell ([email protected])
Mel Robinson ([email protected])
Dan Seaton ([email protected])
ChairmanDamian Walsh ([email protected])
Finance DirectorAmanda Giles ([email protected])
Credit ControlDonna Barlow ([email protected])
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To subscribe visit www.mondoarc.com or call +44 (0)161 476
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mondo*arc, ISSN 17535875, is published bi-monthly by Mondiale
Publishing, Waterloo Place, Watson Square, Stockport, Cheshire, SK1
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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.
Helen Fletcher, deputy editor, writes: Its 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 weve survived to tell the tale and as this is my first
proper issue I can safely say Ive enjoyed every last minute of it.
Weve 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. Shes 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 Im looking forward
to some exciting times ahead!
-
[postcard]
#4 James Turrells Skyspace
You cant have a series about natural light without including
James Turrell so of course he made our list with the Skyspace
installation concept. It is said (apparently) that you never forget
your first Skyspace and thats certainly true for Light Collective.
For Martin, it was the Space That Sees at the Museum of Israel and
for Sharon, the Deer Shelter Skyspace at the highly acclaimed
Yorkshire Sculpture Park.A Turrell Skyspace is a specifically
proportioned chamber with an aperture in the ceiling open to the
sky (a bit like a contemporary Pantheon). Skyspaces can be both
autonomous structures or integrated into existing architecture. The
Skyspaces dominant feature is the circular, elliptical, or square
aperture at the top of the room allowing skylight or the night sky
to be viewed without peripheral distraction. From the inside of the
structure, the viewers point of view is focused upwards and
inevitably lured into contemplating the sky as framed by the open
roof and the installations are somewhere between
indoor and outdoor as well as between fantasy and reality.
There
are now 82 Skyspaces worldwide (a full list of locations can be
found here: http://jamesturrell.com/artworks/by-type/#type-
skyspace).The image used for this months 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 MOCAs 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.Turrells 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/filament-light-bulbs/low-energy-light-bulbswww.urbancottageindustries.com/factoryluxwww.lightcollective.net
light without including James Turrell so of course he made our
list with the Skyspace installation concept. It is said
(apparently) that you never forget your first Skyspace and thats
certainly true for Light Collective. For Martin, it was the Museum
of Israel and for Sharon, the Shelter SkyspaceYorkshire Sculpture
Park.A Turrell Skyspace is a specifically proportioned chamber with
an aperture in the ceiling open to the sky (a bit like a
contemporary Pantheon). Skyspaces can be both autonomous structures
or integrated into existing architecture. The Skyspaces dominant
feature is the circular, elliptical, or square aperture at the top
of the room allowing skylight or the night sky to be viewed without
peripheral distraction. From the inside of the structure, the
viewers point of view is focused upwards and inevitably lured into
contemplating the sky as framed by the open roof and the
installations
indoor and outdoor as well as between fantasy and reality.
There
are now 82 Skyspaces worldwide (a full list of locations can be
found here: http://jamesturrell.com/artworks/by-type/#type-
skyspace).
NO 00000
1
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.
024 DETAILS
* Missing your Factorylux limited
edition card? Then contact
[email protected]
for a replacement.
Corbis
-
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news headlinesNovo Nordisk headquarters wins Danish Lighting
award
(Denmark) - Novo Nordisks new headquarters in Bagsvrd has won
the
2014 Danish Lighting Award.
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...
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...
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...
Lamp 83 expands
(Turkey) - Istanbul-based lighting manufacturer continues
operations in new facility.
Read the full story online...
Whitegoods appoints new Sales and Marketing Director(UK) -
Whitegoods Lighting appoints Christopher Burridge as Sales &
Marketing Director.
Read the full story online...
scan
QR
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e to
lin
k to
the
late
st n
ews
onlin
edarc night launch party takes place
(UK) - International lighting design darc awards is launched by
mondo*arc and
darc magazines.
Read the full story online...
For the latest news stories, head
online: www.mondoarc.com
026 DETAILS
7
In pictures 1 Novo Nordisk campus is featured from page 54. 2
mondo*arc india to launch in March. 3 Christopher Burridge. 4 Lamp
83s new facility. 5 International Lighting Design Survey
4
6
5
2 3
1
features 1300 lighting design practices. 6 Wolfgang Andorfer. 7
darc night launch party took place in London on February 5th.
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[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.
028 DETAILS
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 its 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,
Pic: Gavriil Papadiotis
Pic: Caroline Sterzi
-
029
partners
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 Megamans Dim to Warm LED lamps as a chandelier, Arturo
Alvarez V floor standing lamps (supplied by LSE Lighting) and
Reggianis 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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030 DETAILS
This year marks the 125th anniversary of Dutch painter Vincent
van Goghs death. In memory of the artist, Het Noordbrabants Museum
in the Netherlands displayed Studio Drifts 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 Goghs and Studio Drifts dominant source of inspiration and
forms a guide through the exhibition that will be on view until
April.www.studiodrift.com
Flylight, Studio Drift, Het Noordbrabants Museum, The
Netherlands
eye opener
DETAILS
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031
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[drawing board]The latest exciting works in progress from the
worlds most imaginative designers.
032 DETAILS
SAN ZEROA.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, childrens playground, green
areas and spaces open to the city and dedicated to public use.The
project, developed by Arups 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 spectators
experience. Some of these innovative components include sight-lines
analysed and designed for every seat and developed by an Arup
parametric tool that guarantees
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
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WWW.XAL.COM
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-proofi ng
elements.
SILENT FLYING OBJECTSILENT FLYING
UFO_inserat_mondoarc_210x310_RZ.indd 1 03.02.15 15:56
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034 DETAILS
[drawing board]
ELEKTRAFYING DESIGNMarriott 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
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
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www.kkdc.co.uk
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036 DETAILS
[spotlight]The latest projects with the wow factor from around
the world.
PLAYING IN COLOURToronto-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 Luminothrapie, a high-tech public art exhibition
that displays artists and architects outdoor creations.
Luminothrapie lets local designers, artists and architects build
novel outdoor creations as part of Montreals 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.RAWs
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.comwww.rawdesign.ca
Pics: James Brittain
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037
IMMERSION CUBEAeolian 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.orgPics: Joel Chester
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038 DETAILS
[spotlight]
COSMIC CONTACTArt museum and cultural centre Foundation Louis
Vuitton (FLV) launched the second phase of its inaugural program
with inter-nationally renowned Danish-Icelandic artist Olafur
Eliassons 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 Eliassons first solo show in France
since 2002, this latest exhibition, Con-tact enveloped the museums
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 exhibitions
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 Eliassons expansive exploration of perception and space.
www.olafureliasson.netwww.fondationlouisvuitton.fr
Pics: Iwaan Baan
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2015 02 AD 333_236 5.indd 2 2015-01-30 2:11:38
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040 DETAILS
[spotlight] SOVIET SWEDENKate 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 Gothenburgs Rda 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: Im fasci-nated
by using lights 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
Gothenburgs 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.comwww.thethe.com
SERPENTINE GAMESThe first major UK exhibition by Argentini-an
artist Julio Le Parc sees the Serpentine Sackler transformed with
immersive light installations and the artists 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 Parcs
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
viewers experience.The visitors participation in the exhibition is
both passive and active, with the design reminiscent of an
amusement arcade and its numerous booths. While Le Parcs light
installations offer an immersive experience, his interactive game
works become a place for
activity.www.serpentinegalleries.orgwww.julioleparc.org
Pic: Julio Le Parc - installation view, Serpentine Sackler
Gallery (25 November 2014-15 Februrary 2015)Image Sylvain Deleu
Pics: Julio Le Parc - installation view, Serpentine Sackler
Gallery (25 November 2014-15 Februrary 2015) Images READS 2015
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A range of recessed adjustable circular gimbal downlights
Available in both trim and trimless versions 2 sizes, Mini and Midi
Antiglare snoot as standard Tapered or Long Snoot options Accepts
LED, Low Voltage and Metal Halide light sources Multiple trimless
installation kits available
Product shown ProSpex Axis Midi Trimless with Long Snoot
ProSpex Axis
lucent /lus()nt / adjective literary
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www.lucent-lighting.com
London | New York
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[briefing]We speak to the the new Head of Design and Marketing
at the Zumtobel Group following his move from Philips.
042 DETAILS
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. Im a lighting
designer so this appealed to me. Ive 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 its 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 havent thought about what we can do with
LED that we werent 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 doesnt
have to be just the really high end brands that have this. Why cant
Zumtobel have beautiful, aesthetic exterior products? There are no
reasons why. I cant tell you it will definitely happen but its 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. Its 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 its 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 its 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 doesnt 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. Theres 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?Its 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 dont 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 years
Amsterdam Light Festival (Im 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 Im 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
ROGIER VAN DER HEIDE
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out of darcness comes light...
...welcome to darc night
a unique international decorative and architecturallighting
awards concept and event from featuring member of
partners
entries now being accepted on www.darcawards.com
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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.
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
werent 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.
FIREWALKER, JOHANNESBURGARTISTS: WILLIAM KENTRIDGE AND GERHARD
MARX
CLIENT: CITY OF JOHANNESBURG
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.
ALICE LANE HEALTH CLUB, JOHANNESBURGCLIENT: VIRGIN ACTIVE
GROUP
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045
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
The hotels lighting features a glass pendant chandelier, lit
with blue and white LEDs mimicking rain falling in the hotels
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.
HILTON WINDHOEK, NAMIBIACLIENT: UNITED AFRICA GROUPARCHITECTS:
WASSERFALL MUNTIN, WINDHOEK AND MARTIN KRUGER
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 CFLs 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.
SOUTHPOINT PROPERTIES, BRAAMFONTEIN
ARCHITECTS: SILVIO RECH AND LESLEY CARSTENS
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[lighting talk] This issue we talk to Jennifer Hamilton, founder
of interior design practice The Vawdrey House.
046 DETAILS
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 ... and is still loving it! I have always enjoyed
making the environment around me better and used to lie awake at
night redesigning friends houses. Ive 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 cant stop until I feel the client is
happy!
... how important is lighting to your designs?Lighting is
crucial. It doesnt matter what you do with a space, if the lighting
isnt right - or the effect of the daylight upon the colours and
materials used - it wont 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 dont 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 London [1]. For
the most part this is under individual control and I love the
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 dont? 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
old house we extended in Tunbridge Wells [2] 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 ethereal
glow... like this library space for a house in Brook Green [3].
... 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 its 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...
or our recent project for Cullenders Deli in Reigate [4], 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. In another house in
Barnes, London [5] 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
COULD YOU TELL ME...
Photo: Siobhan Doran Photography Photo: Siobhan Doran
Photography
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047
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
Photo: Siobhan Doran Photography
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048 DETAILS
ITS A FAMILY AFFAIRFrom 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 doctors consultation: We
would advise on lighting. There were no lighting designers and
lighting wasnt 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 Concords 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 rst company to
do it properly was Mole Richardson, the stage lighting specialist.
They teamed up with GE early on, the rst 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
048 DETAILS
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049049
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050 DETAILS
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 companys 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 lions 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 Id 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
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 wed 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
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051
the Tommy Hilfiger store in Londons 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 couldnt 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 couldnt 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
couldnt find any European fixtures with the square pyramidal look
and with lockable tilt and lockable rotation built in. So we did
it. Weve 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. Thats
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 werent
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 dont 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
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.
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052 DETAILS
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,
Tiffanys and Dior outlets. So were starting to appear on their
radar, continued Dunk. The lighting designers whove used us
internationally are starting to use us there as well. Were probably
the only UK company thats 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 Lucents existence, and family
businesses are notoriously prone to staleness and stagnation. The
companys 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 hes 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.Im pleased with the way its going
but you have to bear in mind we are still a family business, its
our own money. We enjoy what we are doing. While were still
actively running the business and enjoying it, well carry
on.www.lucent-lighting.com
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 companys move into retail. Above The
Principe Pio shopping centre in Madrid.
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ACCREDITEDSUPPLIER
S O L U T I O N S
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054 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVRD, DENMARK
CIRCULATING COLOURThe 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 companys new
headquarters.
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055
Pics: Sren Aagaard and Christina Augustesen, Grontmij Novo
Nordisk
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056 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVRD, DENMARK
Novo Nordisks new headquarters in Bagsvrd, Denmark, is the work
of Henning Larsen Architects. Home to the companys 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
buildings rounded form, the atriums 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 Nordisks 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, Grontmijs 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 buildings 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
Henning Larsen ArchitectsBagsvrd1,1002NN16NN2NN2NN1Grontmij
Henning Larsen ArchitectsGrontmijGrontmij
(Novo Nordisk) Bagsvrd (Henning Larsen Architects) 1,100 NN1
NN2
NN2 NN1Grontmij Novo Nordisk Grontmij
Le nouveau sige de Novo Nordisk Bagsvrd au Dane-mark, est luvre
du bureau dtudes Henning Larsen Architects. La direction de la
socit et environ 1 100 membres du personnel administratif profitent
de lar-chitecture de deux immeubles de bureaux lovs dans un paysage
verdoyant et accueillant, inspir des forts et des paysages danois.
Le plus grand des deux bti-
ments, le NN1, comporte six tages caractrises par une volumtrie
cylindrique comprenant un atrium cen-tral, un auditorium, des
bureaux, des salles de runion, des salles de repos, une
bibliothque, des salles de classe, des kitchenettes et une caftria.
Le NN2, le deuxime btiment, est un difice en pointe de quatre
tages. Il montre un achvement formel indpendant, mais sagence tout
de mme au btiment circulaire voisin. La gomtrie en pointe du NN2
cre un complexe cohrent de btiments polygonaux moins levs et of-fre
un point de convergence avec le btiment principal circulaire, le
NN1. Ds le dbut de llaboration de la conception, lentreprise
Grontmij tablit une ferme implication. Lquipe de conception de
lclairage de Grontmij imagina une stratgie assurant un concept
dclairage gnral et une hirarchie pour lintgra-tion des diffrents
lments dclairage, bas sur les visions architecturales de Henning
Larsen Architects et de Novo Nordisk, tout en tenant compte des
divers besoins fonctionnels et esthtiques.
JAPANESE
CHINESE
FRANAIS
The atrium and staircase in the NN1 building. The lighting
concept for the atrium has been focused on emphasising peoples
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.
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architecture and the buildings 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 createdby 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,
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 atriums smaller light-zones; lighting of
the auditorium in a blue scene.
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 atriums 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.
Der neue Firmensitz von Novo Nordisk in Bagsvrd, Dnemark, ist
die Arbeit von Henning Larsen Architects. In dem Gebude ist neben
dem Verwaltungspersonal mit rund 1.100 Angestellten die oberste
Fhrungsebene des Unternehmens untergebracht. Die Architektur
besteht aus zwei Brogebuden, die in einer grnen und einladenden
Landschaft liegen und durch die dnischen Wlder und Landschaften
inspiriert wurden. Das grere der beiden Gebude, das NN1, hat sechs
Etagen, kennzeichnet sich durch einen zylinderfrmigen Komplex und
umfasst ein zentrales Atrium, ein Auditorium, Bros, Konferenzrume,
Ruherume, eine Bibliothek, Unterrichtsrume, kleine Kchen und eine
Kantine. Das zweite Gebude, das NN2, ist ein keilfrmig geformtes
Bauwerk mit vier Etagen. Es hat einen unabhngigen formalen Ausdruck
und ist den-noch verbunden mit dem kreisfrmig geformten
Nach-bargebude. Die keilfrmige Geometrie des NN2 schafft einen
kohrenten Komplex kleinerer, polygolaner Gebude, die dazu
beitragen, einen Blickpunkt zu inszenieren das
kreisfrmige Hauptgebude 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
Bercksichtigung diverser funktioneller und sthetischer Bedrfnisse
eine Beleuch-tungsstrategie geschaffen, die ein komplettes
Beleuch-tungskonzept gewhrleistet und fr eine Hierarchie bei der
Integration der verschiedenen Beleuchtungselemente sorgt.
La nuova sede di Novo Nordisk in Bagsvrd (Danimarca) stata
realizzata da Henning Larsen Architects. Sede del top management
della societ, insieme ad un personale amministrativo di circa 1.100
persone, larchitettura si compone di due edifici per uffici situati
in un invitante paesaggio verdeggiante, ispirato ai boschi e ai
paesaggi danesi. Il pi grande dei due edifici, NN1, alto sei piani,
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, di quattro piani ed a forma di cuneo. Esso presenta
un`espressione formale indipendente, ma si rif ancora agli edifici
circostanti che sono di forma circolare. La geometria cuneiforme
del NN2 crea un complesso coer-ente di edifici poligonali pi bassi,
che aiutano a mettere in risalto ledificio centrale circolare NN1.
Il team di Grontmij stato fortemente coinvolto sin dallinizio 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 allintegrazione di vari elementi di
illuminazione.
Las nuevas oficinas centrales de Novo Nordisk en Bagsvrd,
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 est compuesta de dos edificios de
oficinas ubicados en un verde y acogedor paisaje inspirado en los
bosques y paisajes Daneses. El edificio ms grande de los dos, el
NN1, tiene seis pisos y se caracteriza por contar con una
distribucin cilndrica y est 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-presin formal independiente, aunque an
guarda relacin con el edificio vecino de forma circular. La
geometra en forma triangular del NN2 crea un complejo coherente de
ed-ificios ms 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 diseo. Basndose en las visiones
arquitectnicas de Henning Larsen Archi-tects y Novo Nordisk, a la
vez que consideraba las distintas necesidades funcionales y
estticas, el equipo de diseo de iluminacin de Grontmij cre una
estrategia que aseguraba un concepto general en iluminacin y una
jerarqua para la integracin de varios elementos lumnicos.
ITALIANO
ESPAOL
DEUTSCH
057
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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 lightings diurnal and seasonal rhythms, as well as
to demarcate special holidays.www.lighting.grontmij.dk
Novo Nordisk, Krogshjvej, Bagsvrd, DenmarkClient: Novo
NordiskArchitect: Henning Larsen ArchitectsLighting Designer:
Christina Augustesen, Lighting, Grontmij in cooperation with
Henning Larsen Architects
PROJECT DETAILS
LIGHTING SPECIFIED
ERCO Quintessence downlight and wallwasherERCO Compar
spotlightFagerhult AS RAY 2 ceiling lightFagerhult AS Notor ceiling
lightFagerhult AS Pleiad Comfort downlightFagerhult AS Phase
spotMartin Professional Tripix 300 linear LED stripOsram
LINEARlight FLEX Osram Double grazerOsram Washlight - RGB and 2700
WhiteOsram Floodlight - RGB and 2700 WhiteTraxon Nano Liner Allegro
AC lightsTraxon DMX control system
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 ones
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 buildings 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 buildings 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. Daylightings dynamic behaviour juxtaposed with the
design of the electric lightings 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 du