1. International Lighting Magazine 2008/1 June
GRID STIFLES
IMAGINATION
MARTIN
LUPTON (BDP)
Talking trends in Lighting design
LAS PALMAS
Creating a landmark
2. EDITORIAL
With pride I would like to introduce you to the very first edition of Luminous,
a new magazine published by Philips Lighting, concentrating on the world of
architectural lighting.
The world of lighting – whether you participate in that world as architect,
lighting designer, or manufacturer – is about to move into a new era. We are
together facing enormous and exciting challenges and opportunities. Lighting is
no longer simply a means of illumination; instead, it is used to enrich people’s
lives, to brighten the mood, enhance emotions, increase productivity, give a
sense of pride and improve safety. Custom-built and fit-for-use are no longer
the exceptions but the rule. And so too, increasingly, is stricter legislation and
ever-higher expectations, not least in the field of environmental sustainability
and responsibility.
If we are to successfully grasp the opportunities facing us, we cannot continue
to work from our own perspective. Co-creation is, I believe, the key to
our success. It will help to fuel the dialogue between architects and lighting
designers and the technical resources of a company with the experience of
Philips so that together we can turn imagination into tangible new concepts.
With this idea of co-creation, at the core of Luminous, we are hoping to
create a platform for a mutually beneficial exchange of ideas. If we are able
to inspire each other – architects and lighting designers inspiring us with new
visions, new concepts, and Philips inspiring you with new technologies and
market-driven prototypes – we can lay the foundations for creating a world
that satisfies both the changing needs of society in general and our own
efforts to create a business that is truly sustainable, improving people’s lives
with lighting.
The examples included in this first edition of Luminous demonstrate how
creative vision and technical expertise can together achieve something
which is more than the sum of its parts. Something that is, quite simply,
creating Delight with Lighting.
Rudy Provoost
CEO Philips Lighting
colofon
published by | Philips Lighting BV – Mathildelaan 1, Eindhoven. 5611 BD, The Netherlands – www.lighting.philips.com
editor in chief | Vincent Laganier editorial department/Marketing Communications | Marga Janse, Jos van Gemert
steering committee | Anissa Abbou, Afke Bokma, Peter Halmans, Dorien van de Weele copywriting | Jonathan Ellis
translations | Philips Translation Services graphic design concept | Philips Design dtp | Relate4u printing | Print
Competence Center more info | Marga.Janse@philips.com T: +31 (0)40 27 57956 ISSN nr | 1876-2972 12NC | 3222 635 52461
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3. 20
24 28
12 6
DIALOGUE DOSSIER FEEDBACK
Challenges in Lighting design Architectural Grid Development and Trends in Lighting
LIGHT SOURCE 4 INTRODUCTION 18 BLUE SkY THINkING 34
Piazza San Magno, Grid stifles imagination? Imaginative ideas
Legnano, Italy
PROJECT REPORT 20 SHOWROOM 36
PLATFORM 6 Science and Culture Art Hotel du LAC, Eindhoven,
Martin Lupton, London, Center, Suzhou, China The Netherlands
United Kingdom
PROJECT REPORT 24 RECESSED LIGHTING 38
SUSTAINABILITY 8 Westraven Office Complex, Recessed lighting,
Las Palmas building, Utrecht, The Netherlands Lyon, France
Rotterdam, The Netherlands
PROJECT REPORT 28 GALLERY 42
SNAPSHOT 12 The Luxembourg Seeing is believing,
PUB Department Store Philharmonie, Luxembourg Indonesia and Asia Pacific
Stadium XXL
Bugatti Showroom PERCEPTIONS 32 SPOTLIGHT 46
HSH Nordbank The Grid: A tool for design Agenda, Books, Websites
Tour Exaltis
National Tourism Blvd.
3
5. LEGNANO, ITALY
PIAzzA SAN MAGNO
Talking with Jacopo Acciaro
“The inspiration for lighting the Piazza San Magno,” lighting designer Jacopo Acciaro
told Luminous, “was born in living spaces, along the streets, even standing alone
in special places. For me it was critical to capture and exploit with light all the
different architectures, paths and open spaces that make the square so unique.
My intent was to express, through the lighting project, all the architectural
elements present in the area, thus creating a lively and pleasant feeling containing
clear-rich shadow and different shades of light.”
“For me, one of the factors that has helped create a link between the various
surfaces illuminated was the decision to use different colour temperatures. The
lighting has been carried out with a colour temperature of 3000K (pot, surfaces of
buildings), while for some architectural accents, the choice was a cold temperature
of 5500K. We believe that this choice is particularly appreciated because as one’s
eyes travel through space, there are common reference points with warnings
through colour temperature.”
“In the Basilica site, the lighting in the elevated walking area with fountains, benches
and vegetation is delivered by a system of little LED luminaires, placed under the
wooden benches. The white light which has a colour temperature around 5000K
(cold light) is arranged from the top to the bottom like a blade of light, making sure
it provides enough illumination to the path itself (around 100 lux).”
“There is also scenographic lighting for the trees which will be put to use whenever
a special occasion takes place. This lighting will be provided by two recessed
luminaries with metal halide lamp bulbs 35W 3000K arranged in the flower pots.”
“For the buildings located all around the square, the lighting is provided by non-
symmetrical luminaries which contain metal halide lamps bulbs 70/150W which
are placed under the water spots and which deliver precise and controlled
flowing light.”
light
Client
City of Legnano, Italy
Architect
Ermanno Ranzani
Source
Lighting Design
Jacopo Acciaro, Massimiliano Morace, Voltaire S.A.S,
Milan, Italy
Light sources
3000K: pot, surfaces of buildings
Philips MASTERColour CDM
5000K: benches and architectural accents
Philips SSL customized solutions, LED 0.4 W 4 lm
5
6. William Landell Mills: How does lighting get articulated in
a project?
We try to base everything we do on a strong conceptual
foundation. I believe in going through the concept process
to arrive at a solution rather than just instantly walking in
and saying right this is the best thing to do in this space.
It is not about generating a list of kit and locations to put
it in; it’s about generating a reason for the kit being in a
certain place and doing a certain thing.
I think if you look at the work we do, our foundation,
you will see that we’re trying to make projects, excuse
the cliché: people centred. We want to make the lighting
about the people in the space. It is not just about
glorification of architecture or light and design; it’s about
creating space for people or a place for people to be in.
WLM: Why is that people centred?
It reflects my personal philosophy on lighting which I
developed when I very first got into design. I don’t think
there is one correct approach to lighting design. The
biological, the physical, the science, the art, the product,
the architectural – these different approaches can all
generate a really good lighting solution. But if you have
people contributing from different backgrounds then
you’re going to get an even better solution.
WLM: How did your background influence your work?
I think what happens is your background – mine is
academic and science and engineering – may influence
your approach. But ultimately it’s the passion for lighting
and the love of lighting design that connects everything
and becomes the common language. Then your training
becomes a greater influence than the tools you actually
use on the job.
Jasmine van der Pol: Do you generally start with a team?
This really depends on what we are asked to do. If we’re
MARTIN
commissioned to do a lighting project and we are asked
to do a presentational pitch, we’ll drag in four or five
people from our group and we’ll all sit round the table
and throw lots of ideas around. We always try to base
LUPTON
our pitch on a concept or a series of concepts, just to
demonstrate to people how we work. If we are invited
to join we want to sit down with the design team and
go through the process with them as well. In that way
we find we can work with the architect and inform each
Lighting Designer BDP, London, United Kingdom other’s thinking and sometimes the lighting concept makes
the space work better and the architecture changes to
facilitate that.
Martin Lupton is one of the industry’s leading lighting designers,
eagerly sought after for projects and seminars. William Landell WLM: What do you think are the lighting trends?
I think one of the big trends I see with lighting at the
Mills and Jasmine van der Pol join him for a wide-ranging moment is media facades. You’re essentially turning
facades into TV screens by putting lots of LED pixels
discussion of his profession, his views and his ideas. on them. You are beginning to see them everywhere.
It’s a technology-driven solution. The trouble is that
6 DIALOGUE
7. those things are so easy to plug into a DVD player and WLM: The gherkin comes to mind
play adverts on. There is little intellectual content or I disagree that this is just decoration.
justification for having them; the majority will just be
advertising panels. It’s like that at the moment: if you go In my opinion Foster & Partners are one architectural
to a public square in Japan you’ll have three or four. Every practise who use daylight well; a lot of their work revolves
square is like Piccadilly Circus! around daylight. But there are lots of other architects
building lots of things that don’t acknowledge daylight
JvdP: Do you think that is the way of the future or do as a light source. Our buildings are much denser, the
you think it’s maybe too much? Surely the planners have space more deeply planned. We’re trying to pack more
something to say about it. and more people into less space in the city so space is
They do have something to say about it yes. I just think becoming a premium. But for me, the true sustainable
it is happening so quickly at the moment because the lighting is daylight. And that’s the connection we’ve got to
technology is new and there is still a novelty value to rediscover.
it. Actually we’ve got two schemes with that sort of
technology happening at the moment. What tends to
7th January 2008
happen is that you have a few, and then everybody starts Extract from the Light and Emotions Research on going
using them until they are everywhere. by Synovate Qualitative Research and Philips Lighting
WLM: Do you think they can enhance or is it potentially
doom-laden?
I think it could potentially be doom laden, unless
somebody realises that we could end up with City
Squares with screens everywhere. You could end up with
everybody living in Vegas, simply because the technology
has become readily available and affordable. Well I would
hope that actually we would have...
WLM: Better taste?
Yes, I would hope so. But we’re such a media driven
society now.
WLM: How does that fit with ecology? What’s happening in
those terms?
Well that’s a very bright area for what we do. I really think
that the sustainability issue is a real opportunity for the
lighting designer’s profession. I think we need to be more
socially responsible about what we do. Every time I put a
dot on a drawing it’s a bit of energy used on somebody
else’s behalf. I’m ultimately responsible for the energy
they use and it is something we have to address seriously.
I see that as a key to promoting professional lighting and
design. People have the skills and the qualifications and
the moral responsibility to apply lighting sensitively and in
the right context. But they also have the responsibility of
minimising energy consumption and deciding responsibly
not to light certain things.
I think sustainability is also going to facilitate our
reconnection to daylight. We are already seeing this.
Over the last 30 years or so, architects seem to have lost
the skill of daylight design. They don’t design buildings
to be day lit any more. Windows aren’t considered as a
means of getting light into buildings; they consider them as
decoration on the side of the building. How can I do my
window layout, how is it going to make my façade look? It
is all about decoration...
PLATFORM 7
8. LAS PALMAS– ROTTERDAM, THE NETHERLANDS
CREATING
A LANDMARk
Interview by Jonathan Ellis
An interview with Marten Wassmann about the challenges he faced
when redeveloping the Las Palmas building in Rotterdam.
As you approach the redeveloped Las Palmas building
at night, you are immediately struck by the ring of light
– created by a chain of LED lights measuring 160 metres –
which emphasises a modern structure on top of the
original building that dates from the fifties.
“Las Palmas is a symbol to many people in Rotterdam”,
explained Marten Wassmann of Benthem Crouwel
Architects.” It was built in the fifties as the work-place for
the Holland America Line and we wanted it to become a
landmark for the Kop van Zuid development. The original
plans included the possibility of erecting two new storeys
on top of the building, but interventions during the
construction stage – such as the inclusion of light domes -
had made full use of the roof impossible. We had several
ideas – a restaurant, penthouses, offices – but when OVG
purchased the building from Rotterdam council they were
so impressed with the design that they decided to use the
penthouse for their head-office. The building is known
now as Las Palmas Penthouse – and ships passing see the
name spelt out on the side of the building in Morse code
illuminated by Philips.
8 DIALOGUE
10. Jannes Linders
“Another possibility we were able to incorporate was a on doing things less badly rather than on actually
parking deck under the penthouse. The car fleet of OVG improving them.
consists of 14 Mini Coopers, and these now reach the
parking deck in a converted goods lift from the cellar. “In Las Palmas we obviously integrated as many energy-
I understand OVG is now planning to allow visitors to saving features as possible – movement detectors to turn
use the lift and deck. During the ascent – which takes lights on and off, for example – but more importantly,
a minute and a half – they will be shown a film about we made very conscious decisions. We used light where
OVG projects. it was necessary. Was the ring of lights around the
penthouse necessary? I believe it was. It is a gesture
“In May we are starting further redevelopment of the towards the building’s past and to its future. Even in times
roof. We are turning it into a roof-top garden. The of sustainability, our cities need landmarks.”
buildings surrounding Las Palmas will be able to look
down on a patch of green. We initially had the idea of
creating a city camping site on the roof, but that was
considered too radical by the city council. We are now
laying grass on the roof instead. This has not only an
aesthetic role, but also a practical one. The grass layer
Client
will provide better insulation to the building and will also OVG Projectontwikkeling
retain moisture before it enters the waste system. “
Architect
Benthem en Crouwel;
Is this part of an effort to introduce sustainability into Marten Wassman
the building? Lighting solutions
“I wish I knew what the word meant,” replied Marten Wibeke Polle, Philips Netherlands
Wassman. “If I asked you how your relationship was Installer
and you replied ‘sustainable’, that wouldn’t be very Inteco / C2N / ETB VOS
positive, would it? Obviously we must all do something Light sources
to contribute to the concept of sustainability. After all, Philips TL5 and LED
building and construction is responsible for 50% of waste Luminaires
in the world. But I think we all too often concentrate Philips Ledline2, Origami, Fugato, TBS and Inteco
10 DIALOGUE
12. PUB - DEPARTMENT STORE,
STOCkHOLM, SWEDEN
The project was to re-design PUB, the oldest department store in Sweden.
Formerly a rather anonymous city galleria, PUB is changing into a modern Client
Atrium Ljungberg
department store focused on fashion for a young, urban, internationally Stockholm, Sweden
orientated target group. Lighting plays a significant role in the project,
Architect
balancing the historical roots with a modern, constantly changing content. BAU Arkitektur, Hans Birkholz, Ulrika Lundgren,
Stockholm, Sweden
The lighting design concept for the cupola aimed to emphasize its role as a Lighting Design
natural centre point of the department store. The architectural design allowed Kai Piippo, Clara Fraenkel, Paul Ehlert
Ljusarkitektur, Stockholm, Sweden
for an interesting play with light, shape and movement. By changing the
colours, the intensities and the speed of the dynamics of the 500 RGB LED Light sources
Inside the circular niches created in the ceiling:
light fittings that are hidden in the construction, the cupola transforms into a Philips iColor Cove, ColorBlast 12 Powercore,
living element that breathes light. linear high intensity LED luminaire RGB
Mikael Silkeberg
12 DIALOGUE
13. Sören Håkanlind
STADIUM XXL, GOTHENBURG, SWEDEN Client
Stadium XXL
The new Stadium XXL is more than a store: it contains not only an exceptional Architect
Josefine Larsson and Tomas Eriksson TEA,
range of sports products and brands, but also a sports café, a cycling station, Stockholm, Sweden
putting green and a runner’s lab. The architect wanted comfortable retail lighting
Lighting solutions
that would help create an interesting shopping environment and so a special Lars Gärdebäck, Fagerhult Retail
fixture was developed and designed according to the demands of the customer.
Lighting controls
New techniques and fixtures with an appropriate design and light output were DALI, DSI system
used to create a combination of well lit and tuned down retail areas.
Accent lighting for display
Fixed on aluminium rail:
Marathon, wide, medium and narrow
spotlights Fagerhult,
Philips MASTERColour
13
14. Client
Brinkmann Group
Interior architecture
Paul Gielissen Gielissen Interiors & Exhibitions,
Netherlands and Germany
Architect
BUGATTI SHOWROOM, Jeroen van Alphen
DüSSELDORF, GERMANY Lighting solutions
Nicolò Brambilla, Marike de Kruiff,
Philips Lighting
The assignment was to turn factory Hall 29 into a showroom for fashion house
Light sources
Brinkman Gruppe where retailers could buy in their new collections while still General lighting for people
retaining the building’s original industrial atmosphere. The enormous space Fixed on the aluminium ceiling cladding:
Philips MINI300, surface mounted. CDM- TD
breaths peace and openness. The architecture is largely implemented in light
colours and much of the original metal has been left exposed. The floor, high Customers’ room
Recessed in the lower ceiling:
panels and furniture, all made of the same materials, provide a contrast to the Philips Fugato functional downlight and Fugato
light colours. compact adjustable, projector downlight, 36° beam
with Philips MASTERColour CDM-T
The lighting design concentrates on bright white light and results in a crisp Accent lighting for display
Fixed on aluminium rail:
colour reproduction, providing retailers with an accurate view of what they are Musa, track mounted projector, 12° beam, Philips
buying in. MASTERColour CDM-T
Gielissen Interiors & Exhibitions
14 DIALOGUE
15. Carlos Montufar
HSH NORDBANk PRIvATE BANkING, Client
HAMBURG, GERMANY HSH Nordbank private Banking
Architect
Nugent Heitmann Montufar
HSH Nordbank wanted to offer a special ambiance for their customers with NHM architects, Hamburg, Germany
the possibility of changing the atmosphere with lighting to reflect the events
Planner
taking place in the building. The space is also used for cultural events, such as Pinck Ingenieure, Hamburg
piano recitals and literature readings.
Lighting Design
Carlos Montufar, NHM architects
During office hours, the lighting system is used to create a dynamic ambiance
Lighting solutions
and stress the time of the day for clients and staff. Cove Lighting is used in Myla Störtebek, Philips Germany
an AWB, Amber, White, Blue programming mode. RGB will only be used
Light sources
for events. The highlight of the interior design is the High Grade Steel Stairs; Cove lighting
although it is possible to change the colour of this stairway, HSH Nordbank Inside the niche created in the architecture:
Philips Cove lighting AWB, low power LEDs
has decided to keep it blue in the colour of the company.
High Grade Steel Stair lighting
Behind the translucent glass:
Philips LEDline2, Philips High Power LED
Controls:
Philips ColourChaser DMX and Colour Wheel
15
16. TOUR EXALTIS, PARIS LA DéFENSE, FRANCE
Client
This office building of fifteen levels and 23 000 m2 appears to be a “small building” La Mondiale
compared to the surrounding skyscrapers. Its daring architecture features a clear
Architect
green glass façade, which gives the impression of a luminous transparent prism. Bruno Willerval, Bridot-Willerval, France
Bernardo Fort-Brescia, Arquitectonica, United
States of America
At night the building’s ceilings are a constellation of small lighting points, created
by the interior lighting of the open-plan offices. Breaking with traditional grid of Technical Research Department
COTEBA, SFICA
embedded fluorescent square 600x600mm, the architects chose to fix round
metal perforated cases in the ceiling with circulars downlights. These tailor Light sources
Office lighting
made luminaires (210 mm diameter) were created with decorative glass using Philips tailor made luminaires, circular downlight
fluorescent compact. 18 and 26 Watt
Marjolaine Rouzeau
16 DIALOGUE
17. Luis Guillermo Gomez Duran; Paulina Alamo
NATIONAL TOURISM BOULEvARD, Client
SANTIAGO, CHILE Inmobiliaria Pullman Bus Costa Central S.A.
Architect
Felipe Banda M. & Arquitectos Asociados
Santiago’s most important bus station is the Central District Station. Jotabeche
Street has been transformed into a 120 meters long and 19 meters wide Lighting solutions
Paulina Alamo, Philips Chile
boulevard. The station’s 35 meter tower has become a new landmark in the
city. This is especially due to its dynamic lighting system which represents the Light sources
Tower lighting
motion of traveling. Fixed on the steel beams
Philips LEDline2 RGB
At night, this space turns into an amazing exhibition of life, and it has become Building lighting
something of which Santiago’s inhabitants are very proud. Fixed on the steel beams
Philips ConTempo RVP350, symmetric and
asymmetric with Philips MASTERColour
Lighting controls
Philips ColourChaser DMX144
17
19. Gong Zhang, Huge Shape Vision Art studio
The Grid is like a skeleton, underlying the structure, composing and ways of employing ceiling luminaire arrangements to create a
sequencing the elements. The Grid is one of the oldest mediums proper ambience: Westraven in Netherlands and Philarmonique
of construction. in Luxembourg.
From urban planning to architecture, from the ancient Greeks to the In lighting, the Grid provides a set of points in a two dimensional
American city plans it is the background design for organizing the plane, at which the lighting calculations will be carried out:
space. Piet Mondrian in art or Frank Lloyd Wright in architecture illuminance and luminance values. The grid here is predefined by
created their aesthetics using a predictable Cartesian grid. More the architecture dimension itself. It can be measured in any plane:
recently, Renzo Piano and Bernard Tschumi superimposed different floor, wall or ceiling. But it must always be rectangular, whereas in
grids in their architecture design. And Jean-Claude Bignon is architecture the grid could be hexagonal like the Suzhou Science and
demonstrating that the Grid is far from passé. Cultural Centre façade in China reviewed here.
Where should architect and lighting designer work more together? It Does the Grid stifle imagination? If you look at the original way
is on the luminaire arrangement grid – the luminaire spacing, position designers are using the grid for lighting their architecture, you will
and orientation in the architecture design. In that respect, a lot still probably say no. And perhaps in your next project, your imagination
can be done! How often in offices does the light from downlights will release the flexibility of the Grid.
concentrate too much on the wall, creating distracting hot spots in
the visual field? Two examples presented here illustrate alternative Vincent Laganier
19
20. THE SUzHOU SCIENCE AND CULTURE ART CENTER, CHINA
A BRILLIANT SkIN
Interview by Diana Y. Lu
Few cities have stood the test of time better than Suzhou. It is said to be more than
2500 years old and its beauty has become a legend. Today it boasts the magnificent
East Gardens and typical “white wall, black roof” houses along the river.
It is also a city that is undergoing radical change, as new Perhaps we could have achieved a greater integration
buildings – many in the new Singapore Industrial Area between all aspects, by combining different sources of
to the east of the city – spring up. The latest building light. Architectural design is only part of the life of a
to grace Suzhou is the Science and Culture Art Center, building. As time passes, it is the users who decide how
a stunning example of modern architecture based on successful we have been.”
a concept by the French-based architect Paul Andreu
and executed under the supervision of Cui ZhongFang The lighting concept was in the hands of Mrs. Peipei
of East China Architectural Design & Research Institute Jin, local cooperation designer for the Suzhou Science
in Shanghai. Culture Art Center. How did she approach the design?
“A piece of façade, a piece of peel and a garden”, explains “It is essential that we convey the imagination of the
executive architect Cui ZhongFang. “These are the architect,” said Mrs. Jin. “That is the starting point for our
elements of the final design. The façade of the main design. We focused on the peel and the façade, trying to
architecture, the peel of the commercial centre in the bring to life the original concept of the ‘Brilliant Peel’.
middle and the garden inspiring the landscaping.”
EMBEDDED SOLUTION
HEXAGONAL GRID During the day, the façade changes as daylight moves
Undoubtedly, it is the metal mesh of the façade that across it; in the evening, the lighting incorporated in it
provides the building with its unique identity. encapsulates the building in a coloured skin. Each hexagon
embedded eight LED low profile fixtures, each fixture
Searching for the right decorative element for the metal containing 6 Red, 6 Green and 6 Blue 1 Watt high-power
mesh occupied much of the architect’s time. “I wanted to electroluminescent diodes.
create something that is familiar, but something with new
technology. It was like searching for an elusive memory. I “In the evening,” explains Cui ZhongFang, “the mesh is
wanted it to be linked to the rich tradition of Suzhou, but not only emphasised by the LED lighting, but also by the
at the same time unique. And it had to be repetitive for interior lighting penetrating the façade. It provides a total
easy production and construction. It is traditional design, view of the architecture.”
absorbed and reborn in a new form.
Mrs. Jin concluding: “Using a dynamic lighting method, we
“The façade itself is constructed of nearly 2,500 repetitive tried to create an emotional and living concept, echoing
hexagones. The architecture we created is not simply a the theme of the architecture. By carefully balancing
reappraisal of the past; it is modern to the core. When façade lighting, roof lighting and interior space lighting, the
we discuss modern architecture, we are not talking about whole building becomes both brilliant and mysterious.”
the use of modern materials and technology, but about a
modern approach to the concept of space. Architecture is
designed for people. It is a dialogue between the architect
and the users.
LIGHTING CONCEPT
“As architect, I concentrate on the soul of the building.
The lighting design was included at the concept stage and
we concentrated very much of the final lighting effect.
But I believe we could have achieved something even
better. For me, architecture must be an integrated whole.
20 DOSSIER
21. Client
Suzhou Science and Culture Art Center
Architect
Paul Andreu; Paul Andreu architect; Paris, France
(Concept design) Mr. Zhongfang Cui, East China
Architectural Design & Research Institute Co., Ltd.,
Shanghai, China (Executive architect)
Lighting Design
Mr. Y.Nakamura, Tokyo Shomei Consultant Co.,Ltd.,
Tokyo, Japan (Concept design)
Mr. Junwei Xie, Ms. Peipei Jin,; Shanghai Lighting
Landscape Engineering Co.,Ltd; (Detail design and
on-site support)
Gong Zhang, Huge Shape Vision Art studio
Electrical installer
Ningbo Municiple company, China
Lighting solutions
Gongquan Qian, Diana Liu, Philips China
Light sources
Philips Lumileds LUXEON ® Led IW Red Green Blue
Luminaires
Philips Low profile Strip II BCS780-18 RGB SP
Controls
Philips Activemix systems i_BUS, ABB
21
25. stage of the chamber music hall
dressing room for solists
Backstage
void of the rehearsal rooms
dressing rooms for solists
void of the rehearsal rooms
artists’ entrance
stage of the auditorium
Backstage
the ticket booth
musicians’ dressing rooms
0m 5 m 10 m 20 m 50 m
French architect, Christian de Portzamparc, created a real harmony of shapes, colour and lighting
that envelops and at the same time, comes from the building of the Luxembourg Philharmonie.
Georges Berne, French lighting designer, L’Observatoire 1, took part in the project from an early stage.
De Portzamparc conceived the building in the shape sequences. When sound and light fill in this wonderful
of an oval, with an external appearance provided by a emptiness which opens between the built shapes, then
colonnade screen formed by 823 closely spaced steel space and music reveal each other.
columns at the perimeter supporting a thin, radius-edged
roof. At the front prow of the ellipse, de Portzamparc “Seen from inside, the play of light here is very particular.
widens the spacing between columns to accommodate The observer discovers a continuous dialogue of
the entrance that runs parallel to Avenue Kennedy. transparencies. Even before I visited the site, looking at
the pictures of this neighbourhood, I thought of guiding
Two shells clad in metal panels rise on either side of the the public towards the future building through a forest
main structure. The tangential curve of one appears to ring of high trees, but then, once I saw the site, I thought
launch visitors arriving from underground parking into of a façade filter, neither completely opaque nor totally
the peristyle. The other arcs up as the carapace of the transparent, but rather an envelope of light, with the
chamber-music hall. Stretching 126 meters at maximum auditorium in the centre. A foyer-gallery encircles the
length, and 109 m at maximum width, the building central kernel of the hall. The façade of this peripheral
dominates the Place de l’Europe situated in the Kirchberg foyer is a vast filigree of fine columns mathematically
quarter on the north-east side of Luxembourg. organized in curves. The rhythms affirm the outer shape
of the hall and offer a wealth of varying views deep into
Along with acoustic excellence for concerts ranging from the building, depending on where you stand.
symphonic music to amplified jazz, the tacit expectation
was that the structure rise to its ceremonial function as a “I like the contrast between the brightness of the
crowning symbol of the new, sophisticated Luxembourg illuminated foyer-gallery and the darkness of the concert
City. The concert hall also had to address the plateau’s hall. In between, the wall looks like a prismatic cliff, from
main thoroughfare and ceremonial boulevard, Avenue which colour springs up. These colourful crevices achieve
John F. Kennedy a particular chromatic subtlety, making the geometric
façades decompose the colours at a height of 20 metres.”
A DIALOGUE OF TRANSPARENCIES
“I believe”, says Christian de Portzamparc, “that space A PARTITION OF LIGHT
can be considered as a phenomenon that one discovers Outside, the building works as a “lamp” in the night,
throughout time, movement, with all its surprises and its as indeed was Christian de Portzamparc intention.
25
26. Wade Zimmerman
Nicolas Borel
Coming from the asymmetrical downlights (Odyssey)
recessed in the ceiling of the foyer-gallery and through
the glass façade between the steel columns, a white
light bathes the Place de l’Europe. Outside, recessed
ground projectors complete the lighting. To meet the
architect’s requirement, the place has been freed of all
the lighting poles in order to offer a full view of the new
building at night. The illuminance levels go from 5 to 10
lux, depending on the program chosen for the lighting (all
lamps on or half of them). “Our reflection on the lighting
concept of the Philharmonie building”, explains Georges
Berne, “concerned both the interior and the exterior of
the building. We were in charge of the urban lighting, and
we took the opportunity to create lighting effects that
reveal the architecture of the building from the inside and
illuminate at the same time the Place de l’Europe, created
by Riccardo Bofill in 1996.”
Inside, the colonnade of the foyer-gallery is lighted by
a white light emanating from the downlights Odyssey,
designed previously by Georges Berne for another Philips
installation, equipped with two metal halide lamps, one
of 70 W and one of 150 W. “Two rows of fixtures are
disposed in the ceiling, evoking notes of music on a stave”,
Client
adds Georges Berne. 260 downlights have been installed, Ministère des travaux Publics, Administration des
offering a level of 50 lux obtained when the 70 W Travaux Publics, Grand Duché du Luxembourg
luminaires are on, 100 lux when the 150 W luminaires are Architect
on and 150 lux when all the downlights are lit. Christian de Portzamparc, Paris, France
Lighting Design
Furthermore, the homogeneous and powerful light of this Georges Berne, François Migeon, Remy Cimadevilla,
L’Observatoire 1, Paris, France
system allows the hollow prismatic crevices of the “high
cliff” to provide a changing, coloured lighting experience. Consultant engineers
Felgen & Associés
From far away, by night, the public can tell if there is Electrical installer
Cegelec Luxembourg
a concert or not: if there is a concert, this dimming
coloured vertical light illuminates the crevices, otherwise Light sources
Philips MASTERColour CDM
the monument shines only in a white light, letting the
architecture be a silent but luminous spectacle. Luminaires
Philips Odyssey 310
Artemide; Bega; Erco, iGuzzini, LEC, Le néon de
la Capitale, Martini, Panavision, Targetti, Z-Lighting,
26 DOSSIER
29. OFFICE COMPLEX WESTRAvEN – UTRECHT, THE NETHERLANDS:
TWO YEARS ON
Interview by Jonathan Ellis
An interview with Ronald Schleurholts, architect of the Westraven Office Building
for RWS, the Dutch Directorate of Public Works and Water Management
The former Westraven Tower in Utrecht held few charms for the people
working in it. Sombre, small rooms shut off from contact with others,
depressing. It was a challenge for Ronald Schleurholts, architect with the Dutch
design agency Cepezed, to radically change the building.
“There was initially a lot of resistance from the people who worked there,”
said Ronald Schleurholts. “Few were eager to return, not just because of
the memories of how things used to be, but also because they were uneasy
about the high level of transparency we had introduced into the building.
Before, people were able to hide themselves away in their cubby-holes; now
everybody can see everybody else. You can see who is sitting in the director’s
office. You know if your colleague is available. And this has had a positive
effect. The transparency, I am told, is also reflected in the management style.
People are now involved. And the views from the building are fantastic.
You can now look out over the canals and motorways for which the people
working in the building are responsible.”
The building that was formerly so dark and oppressive is now bathed in
light. In fact, the Westraven Office Complex won the coveted Daylight
Award in 2008. This award is presented every two years to a building that
demonstrates an optimum combination of daylight, artificial lighting and
architectural excellence.
“Introducing as much daylight as possible was our first priority. People function
better in daylight. They feel more comfortable, more in tune with the natural
rhythm of life. Daylight is constantly changing, and this is far more stimulating
than a bland, constant light level often found with traditional uses of artificial
lighting. By introducing so much glass and allowing natural light to enter the
building, people are happier doing their work. What’s more, they can orientate
themselves better in a building which offers both a view and daylight.
29
30. Korff en Van Mierlo
30 DOSSIER
Rob Hoekstra Korff en van Mierlo
31. “Of course, artificial lighting is also essential. We were able to combine the
benefits of both by introducing daylight-controlled artificial lighting. The system
of dynamic lighting we used actually ensures that the artificial lighting mirrors
daylight. Constantly changing in subtle ways. In this way, we create an ambiance
that is pleasant for work. You know, a building only really comes to life when
it is lit. It is light that makes a building interesting. Yet it mustn’t be intrusive.
A building should not suddenly change when the lights are switched on. This
is disturbing. One project we undertook was a car showroom. Now cars are
designed to look their best out of doors. So the challenge was to create an
environment in which we brought the outdoors inside. A careful combination
of natural and artificial light plus a well chosen finishing made this possible. “
The Westraven Tower leans heavily on the use of the grid. Did Schleurholts
find this restrictive?
“I think it is important to include the grid as early in the design stage as
possible. By using it, you design in flexibility – it gives you enormous freedom
for designing the interior space and adapting it at a later date. After all, a
building needs to be able to change. By using a grid you make it possible to
change the building as the need arises.
“Another advantage of using the grid was that we were able to design
high-quality ceiling units. Thanks to the high repetition of these elements,
standardised high-end elements could be used within the strict budget
parameters. In these, we incorporated lighting, air conditioning, loudspeakers
– all the modern technologies that are essential in an office building today. But
we were able to make them unobtrusive. People shouldn’t be bothered by
technique. It is there to serve them, not to take centre stage.
“In our design, we made use of two different ceiling elements – one for the
office space, the other for the corridors. The grid provided structure, yet
gave us the opportunity of designing in deviations to the grid which makes
the building fascinating. When you drive past the building in the evening, you
see the grid clearly. The lighting accentuates it. But you are also aware of the
deviations. It is much more interesting. “
Now that the office building is in use, Ronald Schleurholts is still satisfied with
the results he achieved in Westraven Tower.
“I certainly believe we produced the best design possible within the
parameters set. But more importantly, the reactions from the people who
work there – and they are, after all, the most important critics – have been
uniformly positive. The initial resistance – the idea that everybody would be
subjected to social control in such an open and transparent environment –
has disappeared. People now feel comfortable, relaxed. And I am convinced
that much of this is due to the use of light. It certainly provides a stimulus to
Client continue along the same road in the future.”
Rijksgebouwendienst (Dutch Ministry of Housing
and Construction)
Architect
Ronald Schleurholts, Jan Pesman
CEPEZED Architects Delft, The Netherlands
Lighting consultants
Het Lichtatelier - Grontmij Technisch Management
Amersfoort, The Netherlands
Lighting solutions
Philips Netherlands
Light sources
Philips TL5 2700 and 6500K
Luminaires
Philips TBS 375, Lightmaster Modular system
Lighting scenario’s
Dynamic lighting; summer and winter scenario,
temperature limiting 25 ºC,
minimum lighting intensity, EN-12464
31
32. THE GRID: A TOOL FOR DESIGN
By Jean-Claude Bignon Architect, Professor Ecole Nationale Supérieure d’Architecture de Nancy
CRAI-MAP (Centre for Research into Architecture and Engineering)
Architectural and engineering design is, by nature, very complex. It requires the use of graphic
interventions to assist with the formulation and solving of problems. Among the various
instruments for representation, the grid is a particularly fruitful device, which makes it possible
to guide research into forms, while reducing the field of possible solutions and showing what the
products, works or spaces are capable of.
A grid can be defined as an ordered network of axes in to unlimited combinations, it assures unity in diversity,
one or more directions, and with one or more pitches which is an incalculable advantage, a miracle derived from
(fixed or variable spacing). A grid is therefore a graphic numbers2”. The construction of a “harmonic grid” from
tool in the same way as a line, a full stop, a symbol or a a modular unit acts for Le Corbusier as a measurement
mark. However, it is also a scalar system, the variables of system which makes it possible to reduce the almost
which (and their values) assist design operations. Each of infinite number of dimensions of an open work by means
the axes of the grid can be assimilated to discrete units of the metric system, by replacing this number by a
which have no meaning, but which combine into complex proportioning device which is more limited, but is based
units (or modules) which do have meaning. Some on the human scale.
examples of grids will illustrate this text.
1978:THE ACC GRID
13TH CENTURY: WALL AND FLOOR TILES In 1978, the Association Construction et Composants
Towards the end of the 13th century, “Parisian tilers had (Building and Components Association - ACC) proposed
the idea of forming small mosaic elements from tiles a document concerning the general conventions for
which were surface-etched before being fired. Although dimensional co-ordination. By defining a co-ordination
the technique was already known for dividing a tile into grid with vertical steps of 100 mm and horizontal steps
two triangles or rectangles by means of a simple incision, of 300 mm, the ACC proposed a reference system for
this workshop produced several incisions in order to “those who create ranges of components, or structural
create as many as sixteen or even thirty two multiple systems, who participate in the development of particular
small elements from a single square. […] It therefore conventions for assembly, tolerance and quality, or who
became possible to create remarkably complex mosaic conceive projects with concern for architectural and
panels1”. In this example, the idea of forming a grid for technological openness3”. According to the authors “the
the products and surfaces to be covered is based on use of a dimensional discipline based on modulation
the search for a practical combinatory system for their represents an element of simplification”. The simplification
creation. The grid acted as a calibration tool, at a time provided by this ACC grid went hand in hand with
when measurement units were not homogeneous, and anticipation of problems relating to compatibility of
when graphic documents, when they existed, never components and implementation, in terms of both
contained dimensions. However, the module was also definition and positioning of the products. It co-ordinated
used to guide the design work. Grids based on modules not only the dimensions, but also the technical devices,
provided a mathematical or even spiritual essence, by and even the implementation operations. This is what
assisting with the proportioning and positioning of the gave it its operative character for technical design
parts of a building. within the context of logic which is known as “open
industrialisation”.
1940:THE MODULOR
In the forties, Le Corbusier developed a measuring THE EFFECTIvENESS OF THE GRID
system which he intended to be universal, and was These examples emphasise the dual efficiency of the grid.
designed to proportion spaces, works and objects: Firstly, it provides designers with a genuine measurement
“The Modulor controls lengths, surfaces and volumes. It system which reduces the field of possibilities to
maintains the human scale everywhere, and lends itself dimensions which are considered to be relevant from
32 DOSSIER
33. UMR CNRS MAP - ENSAL
a point of view which is simply technical, or one which Location
Cité internationale, Lyon, France
is more “philosophical”. While analysing the principle of
regularity more generally, the historian Jacques Guillerme Architect
Renzo Piano Building Workshop, Genova, Italy
saw graphic reticulation as a “network which generates a
limited number of spatial operations by means of a law of
continuous co-ordination4”.
It also makes it possible to anticipate the object (the
product or component), proportion it and position it so
as to facilitate its execution. The grid therefore acts in
two ways, i.e. as a means of simplification of the possible
solutions, and as a heuristic projection of the problems of
measurement and position.
The grid is an instrument which acts in the complex
system of design. Against the random, it proposes the
rule; against the uncertain, it proposes the premise;
against the infinite number of measurements, it proposes
the informed dimension. The grid therefore plays a
particularly fruitful part in assisting design. It constitutes a
system of “operative lines” which regulates graphically the
space of the representation, and semantically the space of
the design. It is a simulated figure which makes it possible
to measure and position, and therefore to plan.
1
C. Norton, Carreaux de pavement du Moyen Age et de la Renaissance [Floor tiles
in the Middle Ages and Renaissance] art and history catalogue of the Musée
Carnavalet, Paris, Editions Paris-Musées, 1992.
2
Le Corbusier, Le Modulor, Essais sur une mesure harmonique à l’échelle humaine
applicable universellement à l’architecture et à la mécanique [The Modulor, Essays
on harmonic measurement on a human scale, which is universally applicable to
architecture and mechanics] [1950], Paris, Editions de l’Architecture d’aujourd’hui,
1983.
3
ACC, La Pratique de la coordination dimensionnelle, les conventions… Pourquoi ?
Comment ?, [Dimensional co-ordination in practice, the conventions … Why?
How?] Paris, Editions du Moniteur, 1979.
4
“Notes pour l’histoire de la régularité” [Notes on the history of regularity],
Revue d’esthétique, Paris, n°3, 1970.
33
34. IMAGINATIvE
CONCEPTS
Philips Research
Imagination is at its best when it knows no restrictions. When Take retail, for example. Feedback shows that customers
constantly demand fresh experiences. That atmosphere
the mind is allowed to range freely, exploring new paths that is vital. But often atmosphere change goes hand-in-hand
could lead to solutions that make a practical contribution to a with high investments. Can some way be found to allow
change at the flick of a switch?
specific sector.
Philips thinks it can. And to assess imaginative ideas,
it uses a retail-dedicated ShopLab which allows fully
operational value propositions to be tested in a realistic
shop environment. Based on a deep understanding of
shoppers and retailers, innovative concepts are being
developed and tested with these stakeholders.
Philips Atmosphere Flipbook contains illustrations
reflecting atmospheres, all pre-programmed in the shop’s
Light tiles
master lighting design. The shop owner – who does not
need to be a lighting designer – simply browses through
the book and chooses the atmosphere required. Each
page has a unique ID associated with the lighting scheme
in the book and opening the chosen page instantly gives
the store the chosen atmosphere. And new atmospheres
can be added at will. Instant change at minimum costs.
34 FEEDBACK
35. 3 x3Spot LED surface mounted
x Spot LED surface mounted
3 x3Haloshelf
x Haloshelf
Glass
Glass
Another important area of retail is display. The HaloShelf
uses light to create a decorative ring of light around a
Buttons
Buttons product. It can be given any colour in the spectrum so
that each product is given its own halo of light. A big
advantage is that this colour can be changed easily and
that it is not necessary to repaint display elements when
new products arrive.
01
01 02
01 02
01
Another innovation is the Reactive Spotlight. It provides
accent lighting on a product such as a fashion accessory
Product
Product
or luxury item, but when a customer approaches
the display, the beam narrows and helps to focus the
attention of the shopper on the product. It is a response
to the customer’s interest and the effect is almost as if a
shop assistant presents the product to the shopper for
inspection. Imagination is being stimulated in the ShopLab
with very interesting results.
Drawings by: d’Art Design, Neuss Germany
Product
35
37. HOTEL DU LAC
Lighting applications are becoming increasingly specialised, clearly focused
on responding to specific requests from clients in particular areas.
Lighting applications are becoming But demonstrating the very
increasingly specialised, clearly latest lighting technologies – such
focused on responding to specific as LEDs – is only part of the
requests from clients in particular solution. Because Philips Lighting is
areas. concentrating much of its efforts on
developing environmentally friendly
Philips Lighting Application Centre technologies that lower the total
(LAC) is a unique showroom where cost of ownership. It allows clients
lighting speaks louder than words. to upgrade to more effective lighting
Here, we present our expertise in solutions in the knowledge that these
a practical way, demonstrating in will be more environmentally friendly
an actual setting the effects that and, in the long-run, considerably
can be achieved with imaginative lower the costs of operation.
use of sophisticated lighting
technologies. For this allows such Hotel du Lac is very much a tool
ideas to be assessed in their proper being made available to clients,
environment. And provides both lighting designers and architects
knowledge and inspiration to lighting working in the hospitality sector.
designers and architects. Being able to see solutions
in practice places them in a
A recent challenge came from the unique position to leverage new Project
hospitality industry. It is important technologies that are at once Hotel du LAC
that guests should immediately feel complementary to their design aims Location
comfortable in a hotel, for example, while keeping operating costs down Lighting Application Centre, Eindhoven,
The Netherlands
because this ensures repeat business. to a more than acceptable level.
Careful and imaginative use of Interior architecture and
Please contact your local Philips office lighting solutions
lighting can make an important for a LAC visit. Ulrika Vis van Heemst, Lin Pöpping,
contribution to this. And so Philips Philips Lighting
Lighting created the Hotel du Lac. Interior Design
Using over 500 lighting sources, Van den Oever Tentoonstellingsbouw.
creating 35 different ‘scenes’ the Light sources
Hotel du Lac demonstrates how Philips LED’s, MasterColour, Halogen,
Compact Fluorescent
lighting can be used to create exactly
the right mood in reception, guest Luminaires
Philips Fugato, Savio, Spot LED’s, Celino,
rooms, bars, restaurants and other Fiorenza, Scrabble, Origami, Amazon LED,
public areas. LEDflood, LEDline²
37
39. concept corner
RECESSED LIGHTING by Natacha Lameyre, Christian Ferouelle
The use of recessed luminaires in an architectural setting is
growing due to their discretion and their on-site integration.
They allow uplighting effects that completely change the identity
of an architectural structure from its day appearance
Different architectural structures can be illuminated using fixtures for recess
mounting. A number of tests have been undertaken to study both heritage
and contemporary sites: a classical pillar gallery and a contemporary arch gate
at CNSMD, Conservatoire National Supérieur de Musique et de Danse in
Lyon, France. The aim was to illustrate the effect of a given beam shape from
a recessed luminaire on a specific architectural volume.
5300
Two kinds of recessed LED luminaires were used in different shapes:
square and linear. The sites were illuminated with a wide range of optics:
4000
asymmetrical, rotational, linear and rectangular shapes with narrow, medium
or wide beams.
For the on-site photographic sessions, rough lighting schemes were prepared
indicating the positioning of the luminaires in relation to the architecture.
800 1500 Each lighting design scheme photograph was taken from a different shooting
angle: front, lateral and side views. We began by shooting the basic individual
lighting effects and then combined these basic effects, two at a time. Viewing
the illumination from these various angles gives rise to a different perception of
volume, contrast and layers.
These tests show what kind of basic effects can be obtained with different
light beams and how compositions of effects can be achieved. More
complex effects can be created using several kinds of light beams or colour
4000
temperatures. This makes it possible to emphasize one structure more than
another to highlight the architecture, to suggest specific details and so on.
2700
Incidentally, it is possible to change completely the identity of a classical or
contemporary building from its daytime appearance. This is why such effects
should be used with caution. In most cases, combining more than two
3600 1000 different effects can overload the architecture and this does not enhance
its appearance.
39
40. 200
Asymmetrical beam Philips LEDflood recessed
Wide beam Philips LEDline² recessed
180
Narrow beam Philips LEDflood recessed
Rectangular linear beam Philips LEDflood recessed
Lighting plan
Asymmetrical beams produce a soft and uniform wash of
light on the ceiling. This illumination reinforces the volume
of the vault.
The light follows the pillars perfectly, creating a high General lighting is created with warm white asymmetrical
level of contrast. Light and dark spaces give rhythm to beams. This gives volume to the gallery. The door is
the gallery. emphasized by linear narrow beams. The two different
colours make the entrance door more visible.
40 FEEDBACK
41. 2100
180
Underlining the arch with two linear wide beams seems
to cut off the background pillars. The light follows
arch inner side perfectly, revealing the corners of the
architecture.
Another way to underline this architecture is to light The linear beams on the pillars in the foreground reveal the
it with two rectangular beams (2x4°/2x27°). The light corners of the architecture. If we also highlight the pillars in
follows the top of the arch more effectively. the background, our perception of the architecture changes:
we now perceive the arch as a three dimensional object.
Moreover, the contrast between the two colors add to the
perception of depth.
41
42. SEEING IS BELIEvING
By Matthew Cobham, Bayu ade Pramudia
Today’s lighting designer has a wide range of tools which can be used to assess
lighting designs. Software simulation in particular is playing an important role,
yet nothing can fully replace the actual experience of seeing a lighting design
translated into reality.
With this in mind, lighting specialists at Philips in the South East Asia Nation
the so called ASEAN region recently organized the “Seeing is believing”
events in Singapore, Thailand and in Bandung Indonesia. The event in Bandung
focused on SSL – Solid State Lighting. Not simply as a concept, but also in
a tangible form. For recently, SSL has been used in the Plaza Dago, one of
Bandung’s main centres. The aim of the event was to create awareness of what
can be done using SSL and also to demonstrate the artistic results that can
be achieved.
An important feature of the event in Bandung was a photographic competition
for young, amateur and college photographers. Their brief: to show the artistic
results of SSL lighting. The photographs were all taken on one evening and had
to be submitted to the jury by the next morning. No electronic manipulation
of the photographs, using computer software, was allowed. A selection of the
entries is included here.
The photographs were later sent to all customers and the owners of buildings
and the comments were very positive. Many commented that the use of
façade lighting increased not only the attractiveness of the buildings, but also
their image and value.
42 FEEDBACK
43. Albert Yonathans Riva Latifah
Refleksi di bebatuan
Dunt
Doni Afriyanto
Riva Latifah
43
46. BOOkS
Ingo Maurer: Designing with Light Light, Luz, Lumière, Licht
Author: Bernhard Dessecker Author: Fernando de Haro, Omar
Publisher: Prestel Publishing Fuentes
(Germany), December 2007 Publisher: AM Editores (country),
ISBN-13: 978-3-7913-3829-3 January 2008
288 pages, 600 colour illustrations, ISBN-13: 978-9-7097-2664-0
Half-Linen 272 pages, 429 colour illustrations,
Language: German and English hard cover
prestel.txt.de Language: English, Spanish, French,
German
Ingo Maurer has been illuminating lives since 1966, when www.ameditores.com
he designed his first light fixture for an installation at the
Herman Miller showroom in Munich. His creation was The volume, useful for individuals and professionals,
entitled Bulb and featured a light bulb within a light bulb. presents the most excellent ideas in home lighting,
The design was so successful that Maurer had to produce including a great diversity of possibilities as much of lights
more to match the demand. Since then, his fascination as of types of illumination in the different spaces from a
with lighting, his pursuit of simplicity of form, and his house. The solutions that are simple to make and they
talents as a graphic designer and typographer have adapt to all type of budgets.
brought him to the forefront of his field.
Provoking Magic: Lighting of Ingo
Iluminacion/ Lighting Maurer
Authors: Fernando de Haro, Omar Authors: Kim Hastreiter, Julie V.
Fuentes Lovine, Claude Maurer, Ingo Maurer
Publisher: Arquitectos Editores Publisher: Editions Assouline (France),
Mexicanos (Mexico), Novembre February 2008
2007 ISBN-13: 978-0-9105-0394-5
ISBN-13: 978-9-7097-2655-8 144 pages, 150 colour illustrations,
64 pages Paperback
Language: Espagnol and English Language: English
www.assouline.com
Designing With Light: An Introduction Published in conjunction with a major exhibition at the
to Stage Lighting Smithsonian’s Cooper-Hewitt, National Design Museum,
Author: J. Michael Gillette Provoking Magic: Lighting of Ingo Maurer presents a
Publisher: McGraw-Hill Humanities/ broad array of Maurer’s iconic works, remounted and
Social Sciences/Langua (United reconceived specifically for this project.
States), February 2007, 5th Edition
ISBN-13: 978-0-0735-1415-4
384 pages, colour illustrations, The Electric Light: Thomas Edison’s
Softcover Illuminating Invention
Language: English Author: Liz Sonneborn
www.mhhe.com Publisher: Chelsea House Publications
(United States), June 2007
This comprehensive survey of the practical and aesthetic ISBN-13: 978-0-7910-9350-4
aspects of basic stage lighting design treats its subject as 128 pages, colour and black-and-
an art closely integrated with that of the director, actor, white illustrations, hard cover
and playwright, and as a craft that provides practical Language: English
solutions for the manipulation of stage space. chelseahouse.infobasepublishing.com
In 1879, Thomas Alva Edison invented the first practical
incandescent electric light in his Menlo Park, New Jersey,
laboratory, ushering in an era driven by electricity. The
Electric Light is an enlightening look at this monumental
achievement, examining how the lightbulb was partly
responsible for transforming the country’s agrarian
economy into the modern industrial economy it is today.
46 FEEDBACK
