Luminous 16 - Connected with Light by Luminous – International Lighting Magazine - ILR

International Lighting Magazine 2015/16 Autumn Issue

Challenges in lighting design Metis, Sosolimited, The Challenge finalists

Sustainable office building The Edge headquarters, Amsterdam

Connected with light

EDITORIAL It’s with special excitement and pride that I am introducing this fantastic edition of Luminous. As the new head of design at Philips Lighting, I feel very privileged, every day, to experience first-hand how much light is part of all aspects of our life. And I am, as I know you all are, convinced that there still are many untapped areas and opportunities where light can bring delight, security, comfort and wellbeing. It’s of course news to no-one… the world we live and work in is in the midst of deep technological and societal changes that will affect our relationships to our environment, our peers, to the whole world in fact. Light – and the way we interact with it - is a major element that affects our everyday life. I am convinced that you all share our determination to find ways for it to affect us as in the most positive way. Luminous – which I am very honored to be associated with – does a wonderful job of telling many stories about how light improves our lives and delivers great experiences. In this edition, we focus on what it means to be connected, with and through light. The stories that come to life here are, to me, to us as designers at Philips Lighting, a confirmation that light can – in fact will – represent the most ubiquitous and useful network of connected functions in everyday life. A couple of great articles highlight this theme. Whether it is indoor positioning for Carrefour – providing surprisingly simple and efficient location through light – or the future-proof Deloitte Amsterdam office The Edge, we can see that connected lighting can bring unforeseen functionality to users, whatever their needs and expectations. Other great lighting stories punctuate this edition of Luminous. A couple that I believe show particularly well how much light can add to life are Lines of Light, on the Expo 2015 bridges in Milan, Italy and Cities of Light, in which we interview Vincent Laforet who is the photographer of the AIR project. I hope this edition of Luminous will bring you – as it did me - insight that will resonate, that can be used ultimately to build and deliver better lighting working experiences. Enjoy! Pierre-Yves Panis Head of Design, Philips

2 Editorial

CONNECTED WITH LIGHT FEEDBACK

DIALOGUE LIGHT AND CRYSTAL

Baccarat Hotel, New York, USA

LIGHTING DESIGN VISION

LINES OF LIGHT

Interview with The Challenge finalists, PLDC 2015

Expo 2015 bridges, Milan, Italy

HOSPITALS EMBRACE LED 100%

CITIES OF LIGHT

Nisa Hospitals, Spain

Interview with Vincent Laforet, photographer of the AIR project

PROJECTS SUSTAINABLE OFFICE BUILDING

LED-BASED INDOOR POSITIONING

MAKING HISTORY

The Edge headquarters, Amsterdam, NL

Carrefour Euralille, Lille, France

Boerhaave museum, Leiden, NL

CONTENTS 3

Baccarat Hotel, NEW YORK

Light and

crystal

By Maureen Quinlan

ÂŠ Hypersonic and Sosolimited

Below: The hotel is a new move for this well-established brand. Right: The glow appears to come from within the glasses. Below: A total of 1,824 Harcourt glasses are mounted on the wall. Page 4-5: The wall of glasses in the lobby gives a dazzling impression as visitors arrive.

“The goal was to create a moment of wonder as visitors enter the hotel” John Rothenberg

Parisian tradition comes to Manhattan hotel experience. Harcourt Wall at Baccarat Hotel shimmers with lighting that combines traditional decor and modern innovation. Baccarat, a venerable crystal manufacturer, has opened a flagship hotel in New York, United States. A dazzling lobby installation combines its iconic Harcourt crystal stemware with innovative LED lighting technology. The result, a combination of Parisian elegance and upscale New York style, has transformed the new lobby. Baccarat has been creating the highest-quality crystal products and selling them to royalty, celebrities, and connoisseurs of fine goods for 250 years. Its move into the hospitality business needed to reflect this reputation for luxury and sophistication. Its hotel in mid-town Manhattan stands out and exemplifies every facet of the Baccarat brand. The newly constructed 50-story glass tower is just off New York’s famed Fifth Avenue, a few blocks from Central Park and right across the street from the Museum of Modern Art. If the location and beautiful glass tower were not enough to make the words “luxury” and “Baccarat” synonymous, the glittering lobby installation is. The hotel designers desired to adorn the lobby with Baccarat’s illustrious crystal, and to incorporate the newest LED lights. They envisioned a wall of the company’s glowing Harcourt glasses, but they also sought dynamic movement in the installation. After coming up with an ambitious idea for the wall, they turned to art

6 light source

and technology studio Sosolimited and Hypersonic Engineering & Design to execute the complicated plan. “The goal was to create a moment of wonder as visitors enter the hotel,” said Sosolimited Partner John Rothenberg. “We wanted to reference the history of the Baccarat brand but also to express that the hotel was a contemporary interpretation of the brand.” Hypersonic designed the physical installation by devising a layout for panels and the glasses. It manufactured a wall measuring about four meters wide by six meters tall, made up of 40 black stainless steel panels. In total, 1,824 Harcourt glasses are mounted. Behind the panels, designers mounted 40 iColor Flex LMX gen2 strands from Philips Color Kinetics. Each strand has 50 individually controllable, full-color LED nodes, and each node corresponds to an individual glass on the panel. Sosolimited chose the iColor Flex LMX gen2 strands because of the flexibility they allowed and the exceptional brightness they provide. “The biggest challenge was to get the Harcourt glass to glow with light in the right way,” said Hypersonic creative director Bill Washabaugh. “We didn't want it to look as if there was a light behind the glass; we wanted the glass to appear as though there is a glow coming from within it. This meant channeling light from the base through the stem, giving the bowl a warm glow, while also getting the facets to really pop with light. We did dozens of experiments with different lights, lenses, reflective tubes, and ways to treat the glass surfaces.”

ÂŠ Hypersonic and Sosolimited

“We wanted highs and lows – soft textures that are suddenly punctuated by a burst of light and animation”.

Above: The lobby is a lively place where a visitor may never know what they will encounter. Below: Bacarrat light wall sections, elevation and axonometry 36.440

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13.146 13.146 CENTRE OF MASS CENTRE OF MASS 13.146 CENTRE OF MASS

24.512

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1/4" PLATE, MOUNT RAIL 1/4" PLATE, MOUNT RAIL

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4.719 4.719 4.719

MT-31 FACE PLATE MT-31 FACE PLATE

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3X PLASTIC CLIPS

LENS

3X PLASTIC CLIPS CLIPS 3X PLASTIC

LENS REFLECTING TUBE

REFLECTING TUBE REFLECTING TUBE NODE PHILIPS LMX LIGHT

1/8" PLATE,

HOLDS PHILIPS 1/8" PLATE, LIGHT NODES 1/8" PLATE, HOLDSLMX PHILIPS LMX LIGHT NODES HOLDS PHILIPS LMX LIGHT NODES

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PHILIPS LMX LIGHT NODE

MOUNTING RAIL FIXED TO ENGINEERED 6 X NO. 16 WOOD SCREW MOUNTINGWALL RAIL FIXED TO ENGINEERED WALL 6 X NO. 16 WOOD RAIL SCREW MOUNTING FIXED TO ENGINEERED WALL 6 X NO. 16 WOOD SCREW

1/4" LOAD BEARING CHASSIS

1/4" LOAD 1/4" LOAD LENS BEARING CHASSIS BEARING CHASSIS

Hypersonic and Sosolimited worked with Philips to come up with a solution. Philips’ engineers suggested using a reflective material to direct the light up the stem. Hypersonic settled on using a mylar tube between the nodes and the base of the glasses. This guided the bright light of the iColor Flex LMX gen2 through the glass to achieve the exact shine that the designers wanted.

There is also a light feature that marks the passage of time. The wall is divided into four columns. At 15 minutes past the hour, the wall goes dark and the first column fills with a new animation. At 30 minutes past the hour, two columns fill with the animation. The cycle continues until, at the end of the hour, all four columns are filled.

Once Hypersonic had constructed the panels and lit the glasses, Sosolimited digitally programmed the light in shades of white and gold to tell a fresh story every time a visitor walks through the lobby.

The lobby is a lively place where a visitor may never know what they will encounter. “The feedback has been very positive,” Rothenberg said. “The doormen at the hotel say guests are constantly taking pictures of the wall.”

“Our challenge was to make it interesting and unpredictable as you walk through the space,” said Rothenberg. “We wanted highs and lows—soft textures that are suddenly punctuated by a burst of light and animation."

The dazzling lights bring out the beauty and timelessness of the Baccarat crystal with creative animation that mimics the mood of the New York tower. The light shows and crystal glasses together create a compelling image for both passersby and guests of Baccarat Hotel & Residences.

The lights go through three different shows in a 24-hour period. From 8 a.m. to 4 p.m. there is crystal geometry. From 4 p.m. to midnight, the light flickers to mimic votive candles. And from midnight to 8 a.m. a column of smoke travels up the wall. These are the just the foundations of the light shows. On top of these background programs, different animation travels across the panels every minute or so. It looks like an explosion of quick visual bursts to keep the wall feeling fresh and dynamic.

“I think it looks amazing. It's the perfect high-polish and totally unique entry into the Baccarat world,” said Washabaugh. “And we didn’t break a single one of the 1,824 Harcourt glasses in the process.”

Client Baccarat Hotel Design and programming Sosolimited Physical design and fabrication Hypersonic Interior design Gilles & Boissier Architect Woods Bagot Lighting solutions Philips iColor Flex LMX gen2 strands sPDS-480 power supplies Websites www.sosolimited.com www.hypersonic.cc www.woodsbagot.com www.gillesetboissier.com

light source 9

Websites www.pld-c.com www.philips.com/lightingacademy

10 Platform

OFFICIAL SPONSOR

THE CHALLENGE FINALISTS, PLDC 2015, ROME, ITALY

Lighting design

vision By Dionne Verstegen

Six students from around the world have been selected through a rigorous process to present their ideas at the forthcoming Professional Lighting Design Convention in Rome in October. Philips is partnering this process, aimed at identifying and fostering new talent.

The Philips Lighting Academy leads the way in educating customers and students about the possibilities of lighting technology and cutting-edge innovations. Students are the future and that is why the Philips Lighting Academy is partnering in The Challenge, organized by VIA Events. This is a student speaker competition organised in the run-up to the next Professional Lighting Design Convention (PLDC), which takes place in Rome from October 28 to 31, 2015. Selected students will have the opportunity to speak to an international audience at the PLDC. The goal of The Challenge is to discover newcomers in the field of lighting design and to help the next generation of lighting specialists to become an accepted part of the lighting design community. The program is designed to develop presenting skills and structured thinking, to boost students’ confidence, and to integrate more practising professionals into educational efforts. The Challenge consists of four rounds in which young talents are coached to success by lighting experts. In round 1, a first selection of students at participating universities was made. Round 2 whittled the number down to the best 15 students. Round 3 was a miniconference in Edinburgh at which the students had to present about their topics. After round 3, five finalists were announced who will present at PDLC in Rome: Isabel Sanchez Sevillano, Pernille Krieger & Eik Lykke Nielsen, Roslyn Leslie, Stephanie Denholm and Mahdis Aliasgari. Each finalist is supported by a coach. The coaches are Iain Ruxton, Brendan Keely, Tapio Rosenius, Emrah Baki Ulas and Florence Lam.

Iain Ruxton studied at the University of Glasgow and, while working as a graphic designer, became interested in lighting design for its mix of creative and technical skills. Iain has over 18 years’ experience as a lighting designer and now works at Speirs + Major. Brendan Keely is the secretary of the Society of Light and Lighting (SLL) where he is involved in all aspects of the society‘s work relating to education, membership, knowledge transfer, publications and events as well as SLL policy. Brendan studied at the Bartlett School of Graduate Studies, UCL. Tapio Rosenius is the founder and design director of Lighting Design Collective (LDC). He is a designer and an artist with more than 100 completed projects in 23 countries in Europe, Africa, Asia and the Middle East. Emrah Baki Ulas is a lighting designer who works at Steensen Varming and is an adjunct lecturer at the University of Technology, Sydney. He studied at Bogazici University Istanbul in Turkey and the University of Wismar in Germany. Florence Lam is a director at Ove Arup & Partners and heads their global lighting-design practice team. She has been responsible for a wide range of creative and precisely executed interior and exterior projects in the UK, Europe, the US and the Far East.

Platform 11

Isabel Sanchez Sevillano How do you see lighting design today?

The lighting design industry is at a point of transition. We have been focusing on space, and on the illuminance of surfaces.

How do you see lighting design tomorrow?

New technologies and codes are changing the industry. People are beginning to see lighting as important for health. I see lighting design in the future more related to the user than the space, where luminance is much more important. Isabel Sanchez Sevillano is a lighting designer at Dot Dash, New York. She is a licensed architect in Spain, where she is originally from. After studying architecture at the Universitat Internacional de Catalunya in Barcelona and at the European University of Madrid, she moved to New York to study at Parsons the New School for Design to gain an MFA in Lighting Design. She is a fervent believer in the concept of total architecture and design as a tool, where light is always the most important link between space and the people who inhabits it.

12 Platform

Isabel Sanchez Sevillano

Eik Lykke Nielsen

Eik Lykke Nielsen How do you see lighting design today?

Lighting design should not be considered as an individual part of the design, but rather as part of an integrated design process that to a higher degree than previously will create a more tectonic building design.

How do you see lighting design tomorrow?

Even though lighting design is a big field in itself, it has to "live" in an interdisciplinary symbiosis with all other disciplines. I do feel that the building industry is beginning to focus more on integrated lighting design and acknowledging its potential. The increasing amount of research and development, should create a solid foundation that will provide motivation for investors to embrace integrated (lighting)design processes. Eik Lykke Nielsen is studying architectural engineering at Aarhus University in Denmark and has a basic knowledge of working with light and integrated lighting design in buildings. He is currently working on a bachelor thesis with Pernille Krieger: “Lighting design to enable elderly citizens to live more independently”.

Platform 13

Pernille Krieger How do you see lighting design today?

As a lighting-newbie, I see lighting design today as a field with unlimited opportunities. The last few years have pushed the boundaries and made the impossible possible. Today, we see incredible light installations all over the world that constantly push our perception of what is possible, and time after time enchant us.

How do you see lighting design tomorrow?

I see the lighting design of tomorrow as integrated design solutions that improve living conditions, sustainability, health and independence. Many research studies today are exploring how to create optimal design solutions that foster quality of life for all human beings. I know that a lot of new knowledge will emerge in the coming years, and I can’t wait to see it. Pernille Krieger has a bachelor degree in architectural engineering (B.Sc.) in Denmark and has gained knowledge within the field of lighting. Previously she completed an internship at Grontmij in Copenhagen, and a two-month Multidisciplinary Australian Danish Exchange (MADE) in Sydney.

14 Platform

Pernille Krieger

Roslyn Leslie How do you see lighting design today?

It is an exciting and ambitious industry combining creativity with biology and physics to improve all our environments. The industry is entering an exciting phases and I believe there is still a long way to go in understanding lighting's full effect and potential.

How do you see lighting design tomorrow?

I see lighting design tomorrow continuing down the 'smart lighting' route, with designs that mimic or flow with natural light throughout the day and night. This not only suits energy saving but also has the potential to work better with our circadian rhythms and sustainable, more pedestrian cities.

Roslyn Leslie

Roslyn Leslie Having grown up predominantly in Asia and travelled extensively before returning home to Edinburgh, Roslyn Leslie has developed a fascination for natural light around the world. This includes moonlight as well as sunlight – and how different cultures utilise the sun and the moon for practical and spiritual purposes. She is passionate about the potential of light for engaging moods using new and existing technologies. She studied lighting design at Napier University in Edinburgh, Great Britain and graduated in August 2014.

Platform 15

Stephanie Denholm How do you see lighting design today?

I see lighting design today as an industry that is exploring new ways to connect people with light, whether within the home with controllable lighting or through public light art interactions or people connecting to the light around them through Li-Fi.

How do you see lighting design tomorrow?

I think that lighting design will focus on the evolving and increasingly 24-hour cities we live in today. The growing importance of responding to the uses of the city during darkness hours could lead to more tailored and unique lighting designs in urban parks and urban spaces at night. Stephanie Denholm took an undergraduate course in interior architecture BDes (Hons) and went on to study lighting design (MDes) at Edinburgh Napier University, Great Britain. Currently, she works part-time as a design assistant for Edinburgh Napier University and. She also for lighting design consultancy LightMedium. . Her lighting master’s major project focused on a new paradigm for lighting urban parks.

16 Platform

Stephanie Denholm

Mahdis Aliasgari How do you see lighting design today?

The new LED technology allows lighting designers and architects to impose new layers of aesthetics, information and interactivity in built environments but how and to what extent can we integrate these potentials in people's everyday life in our cities?

How do you see lighting design tomorrow? Mahdis Aliasgari

Smart interactive lighting design will become a fusion of function, meaning and beauty. Also, light art will move beyond event-driven projects and/or entertainment. To achieve this, we need to re-frame our â&#x20AC;&#x153;human-centricâ&#x20AC;? design approach and learn from the emerging fields of design anthropology and participatory design to bring novel values into city dwellers' lives simply by involving end users in the design process. Mahdis Aliasgari started studied architecture in Tehran, Iran where she gained her bachelor and masters degrees at Azad University. She continued her studies in lighting design and graduated from KTH in Stockholm with a masters in lighting design in 2013. She gained experience in several practical workshops at KTH, and has worked as a research and architectural assistant in Tehran. Since graduating from KTH, she has become a junior researcher at the Interactive Institute Swedish ICT in Stockholm.

Platform 17

ÂŠ Alessandra Magister

EXPO 2015 BRIDGES, MILAN, ITALY

Lines of

light By Ruth Slavid

Left: The technical challenge was to place the lights so that they projected an even light onto a curved surface. Below / right: LED projects sent light up from the parapet, and there was also lighting at the bases of the arches. Page 18-19: The simple, even lighting of the arches of the bridge complements the architectural design.

Metis Lighting has worked closely with architect Antonio Citterio to light a series of bridges in Milan in a way that is notable for the simplicity of the effect – and which was very complex to achieve. Simplicity is often the hardest condition to achieve, and this was certainly the case with the lighting of the bridges in an area of Milan that has been revitalised for this year’s Expo. Designed by Italian architecture studio Antonio Citterio Patricia Viel and Partners (ACPVP), the new link connects the Expo site to the rest of the city, from which it would have otherwise been cut off by roads and railways, by a complex sequence of elements: bridge, viaduct, bridge and arches. There are two doublearched bridges (one above the A4 highway and one above the Expo entrance) and one single-arched bridge (above the A8 highway). These arches, which take references from the Expo, such as the Mediterranean Hill, are lightweight and simple. The architect rejected ideas such as cable-stayed bridges because their complexity would have been lost amid the happy chaos of the Expo. Metis Lighting, a lighting design studio that frequently collaborates with ACPVP, picked

20 Concept CORNER

up on the austerity of the design by providing a simple line of white light to illuminate each arch. But this is simple only in the sense of the visual effect. The specification and calculation that were needed to achieve it made this one of the designer’s most demanding projects. Marinella Patetta, co-founder with Claudio Valent of Metis lighting, explained that the project had been difficult from the beginning. “We started to collaborate with ACPVP about 15 years ago,” she said. “We were more used to working on interiors projects. This project, which we started work on about five years ago, was an infrastructure project, but we tried to work with the same kind of approach.” First of all the lighting designers avoided any use of colour by using an achromic scheme, highlighting the two shades of grey that are used on the architecture. “The structure,” said Patetta, “is about

lightness, permeability and transparency. We tried to follow the same principle with the light. The aim was to highlight only the arches and the intrados – the underside of the arches. We tried to underline the sinuous shape of the arches. It sounds simple but you have to work with the light fittings to get very high quality light at all the different angles. We had to integrate the light fittings in the parapet of the walkway and in the basins that house the bases of the arches.” In other words, this was an extremely challenging geometrical problem, since most of the fittings are in a straight line yet they have to achieve an even result along a curve. It was made even more complex by the fact that the arches are not vertical but are angled outwards. “We worked hard from the time of the competition to define the position of the light fittings in a manner that could be

integrated in the structure,” Patetta said. Using Philips Color Kinetics on the parapet, the designer had to select the lenses and angles carefully in order to achieve the desired effect. In addition, it needed a light fitting that could be entirely concealed, so at no point would pedestrians, drivers or people looking from a greater distance actually look directly at the fitting or the light. This was a project that was beset by financial problems. However, Metis was able to argue successfully that, given the complexity of the problem and the amount of work that had been put into solving it, any substitution of the lighting would not be possible. The optic had to be very precise, so that the light hit exactly in the middle of the arch, both for the visual effect and to avoid light pollution. For Patetta, there was never a question of choosing any light source other than LED, not only because of its performance but also because it is so long-lasting. On a bridge, maintenance is a serious consideration. And so is vandalism. The lights on the parapet have glass

covers over them, to provide protection and make it impossible for passers-by to break or remove them. Originally Metis intended to use subtle dynamic lighting, cycling between different colour temperatures of white light. This was one of the casualties of the budget cuts, and it settled for a colour temperature of around 4000K which is, said Patetta, “not too warm and not too cool” and which she believes perfectly complements the two colours of grey which the architect has used on the bridges. “Citterio is very pleased with the result,” Patetta said, and she evidently is as well. The bridges and their subtle lighting stand out well against the exuberance of the Expo and will be even better defined once all the clutter has been swept away. This is a project in which people are more likely to comment on the elegance of the bridge architecture than on the lighting – and Metis has put in a lot of effort to ensure that this is the case.

Client Infrastrutture Lombarde S.p.A. Architects Antonio Citterio, Patricia Viel, Claudio Raviolo, Antonio Citterio Patricia Viel and Partners Lighting design Marinella Patetta, Claudio Valent, Chiara Castellarin, Metis Lighting Key account manager Alessandro Conforti, Philips Lighting Matteo Biasoni, Philips Italy Value-added reseller Arkilux Lighting solutions Philips Color Kinetics eW Reach Powercore gen2 4000K, ewGraze QLX Websites www.antoniocitterioandpartners.it www.metislighting.it

Concept CORNER 21

ÂŠ Ronald Tilleman

THE EDGE HEADQUARTERS, AMSTERDAM, THE NETHERLANDS

Sustainable

office building By Russ Hodgson

24 CONNECTED LIGHTING I

“As interior architects we’re always looking for the extra opportunities in the building”.

Top: The Edge is set within a well-connected business hub in the southern part of Amsterdam. Above: Babette Bouman Page 22-23: The stunning office building has the highest BREEAM rating ever awarded.

Top: Philips provided a bespoke lighting solution that supplements and augments the natural light coming into the atrium.

At the heart of southern Amsterdam’s business community development, Deloitte’s new HQ, The Edge, is the centerpiece of a burgeoning urban hub. Here, interior architect Babette Bouman talks about how new levels of comfort and flexibility were achieved. When commissioning this new HQ, Deloitte’s goal was to push the boundaries of building design in every way to create a workplace of the future. The Edge offers its inhabitants stunning views of central Amsterdam, particularly from the 14th floor with its raised ceiling, and includes a fourth floor that is designed like a rooftop garden. The entire building is structured around a light-filled atrium, which spans all 14 floors and acts as the heart of the structure. At 98.36%, The Edge has the highest BREEAM rating ever awarded, and has achieved energy-neutral status with the help of 4,100 square meters of solar paneling. It also uses a bespoke connected lighting solution provided by Philips Lighting to supplement and augment the natural light that the atrium provides. The Edge is a showcase for sustainable technology that symbolizes the future of office spaces with a human touch.

Can you tell us about the urban context of the building? Babette Bouman: The Edge is set within a large area of commercial properties in the southern part of Amsterdam – a well-known business community where major companies are located. It’s a very well-connected part of the city and was developed to be a business hub for Amsterdam. How did you approach the project with Deloitte? We worked very much as a team and initially started implementing the original brief from Deloitte, which was at first for the office floors. Afterwards we won another pitch and did the design for the entire building, including the atrium and each of the other new functions such as the shop and restaurant. Our approach is often to look beyond the brief and try to find the unexpected in the building design as well as in the company itself. As interior architects we’re always looking for the extra opportunities in the building. To do this, we work closely with our client, asking as many questions as we can to discover what they really want from their new office. We discovered that Deloitte really wanted more from this building than ever before which is where we came up with the concept of flexible working at a new level.

CONNECTED LIGHTING I 25

“If you can adjust your lux from 300 to 500 and change the climate setting, then you really have a flexible environment”.

26 CONNECTED LIGHTING I

Above: The designer has created a range of spaces and moods to accommodate flexible working and connected lighting. Left: Typical floor plan.

How did you incorporate flexible working in the design of the workspace A flexible concept was a part of the original brief from Deloitte but we were able to take it one step further. Our design goal was to create movement in the building, where people would go from one space to another, depending on the task at hand. So there would be zones for more focused tasks where concentration is needed and areas for more informal meetings which encourage collaboration. The design of adaptable spaces for the people using them, in combination with the people moving around from work to meeting to social space. adds a dynamic dimension to the feel of the building. How was lighting incorporated in this design? Lighting was an initial consideration when we started the design for the building as it’s a really important aspect in the way we shape our spaces to achieve excellent levels of comfort. One example of how we used light to enhance a space is in the atrium. In the design of the building, the atrium is an integral part and designed to be the lung of the building in terms of energy management, while also being the heart of the work environment. It’s an area that is flooded with natural light and our challenge was to give

the walls a nice glow and warm feeling when you first walk into the space. To achieve this we used wall washers which have added a level of comfort to the area. We also used additional lighting on the work floors to create a cozier environment where people can work in comfort. With such a large space, particularly the atrium area, it must have been challenging to create a feeling of energy and warmth? It was actually a key challenge for us, and a very important part to get it right, as the atrium is an area where you want to have a feeling of life and energy, otherwise it would just feel like an empty building. On the ground floor we added a number of interior elements to the design of the atrium, the main architectural intervention being the eye-catching coffee bar, set on a podium to get the human scale right within this area. We also designed a shop and a lounge to be accessed from the atrium, the latter via a signature staircase. The terrace of the restaurant on the first floor and the so called “cabrio” or rooftop garden on the fourth floor connect the lively atrium to the office environment in so many ways. It really has become an integrated design.

CONNECTED LIGHTING I 27

How did the connected lighting technology impact your concept? The “digital ceiling” created from the connected lighting system was really an extra for us as it enabled much more flexibility and it helped our design to adapt to the needs of the individual person on the office floors. The agile working concept for Deloitte is all about flexibility, and if you can move around your work floor, adjusting your lux from 300 to 500 and changing the climate setting, then you really have a flexible environment. This is the most sustainable office building in the world, so how did you approach the sustainability aspect of the design? Of course we looked at the type of products we used in the building, from choosing a carpet with an eco backing to using the right types of glue. There were also other factors to consider to achieve the BREEAM Outstanding rating such as making sure that could sit within seven to 7.5 meters from the façade and designing the flexible concept to accommodate the employees, minimizing the square footage needed for the office. Although this project has achieved the highest ever BREEAM rating,

we actually set out with the very simple objective of creating the best design possible for Deloitte. As we went along, we improved the concept, moving towards this incredible goal of creating the most sustainable building in the world. It is quite an achievement! One aspect that I personally think is an exciting development is the way that the connected lighting system can help the building management understand more about how the building is being used. For example, cleaning the office only where and when it is necessary. By collecting data, you can not only directly improve the sustainable use of the building, but also develop new and better concepts for the office environment and the way of working. Do you think the overall concept has been a success? Yes, and the feedback from users in the building shows that we’ve hit the mark with the design. The biggest compliment is receiving positive feedback from the client and you really feel the buzz when you are in the building. I’ve also heard positive feedback about how flexible working combined with personal control appeals to users of the building as they can adjust their own environment.

Client OVG Real Estate

Lighting solutions Philips customized LED fixtures

Owner Deka Immobilien Investment

Lighting controls Philips Power-over-Ethernet based connected lighting system

Baillers Deloitte AKD Salesforce Henkel Sandvik Edelman Architects PLP Architecture OeverZaaijer Interior architects Fokkema & Partners Engineers Deerns

28 CONNECTED LIGHTING I

Certification BREEAM outstanding Websites www.the-edge.nl www.plparchitecture.com www.fokkema-partners.nl www.oeverzaaijer.com www.deerns.com

ÂŠ Jaap Bouwens

Above: There is a real buzz within the building.

Onderwerp 29

ÂŠ Guillaume Grasset

CARREFOUR EURALILLE, LILLE, FRANCE

LED-based indoor positioning By Isabelle Arnaud

In a world first, retail giant Carrefour installed Philips LED lighting at its EuraLille hypermarket to deliver location-based services to shoppers. LED lighting system act as an “indoor GPS”, transmitting location information to an app which triggers location-based services with a precision of less than half a meter. May 2015 saw the world’s first launch of a major installation of a connected lighting system with LED-based indoor positioning by Carrefour, the leading retailer in Europe and the third-largest in the world. The supermarket is in the city center, right next to the railway station. Thierry Demettre, Carrefour Euralille’s director, proudly presented the newly refurbished hypermarket in Lille. “Everything has been changed to adapt our supermarket to our urban customers’ needs and offer them a new shopping experience,” he said. “ This ranges from presentation and signage to lighting, and includes an entirely new service: the LED indoor positioning system developed with Philips Lighting”.

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Visible Light Communication technology

My indoor GPS

The indoor positioning system consists of LED fixtures, a cloudbased location database and a software development kit on which customers can build their mobile interaction platform. The system in operation at the Carrefour hypermarket in Lille comprises 800 linear LED fixtures that use patented Philips VLC (Visible Light Communication) technology to transmit a unique code through light. This code, unnoticeable to the human eye, can be detected by a smartphone camera, without the need for any additional accessories.

My indoor GPS

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Carrefour EuraLille wanted to replace its fluorescent lighting in order to achieve energy savings. Working with the Carrefour concept and innovation department, Philips Lighting came up with the idea of creating a unique shopping experience. Fluorescent tubes were replaced with 2.5 kilometers of energy-efficient LED lighting that uses light to transmit a location signal to a shopper’s smartphone, triggering an app to provide location-based services.

PROMOS

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PROMOS

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The new lighting will reduce by 50 % the total lighting-based electricity consumption of the hypermarket and, in addition, will provide new services to its customers, such as helping shoppers to navigate and find promotions across the 7,800 square meter store. “We are leading the way with connected lighting for retail with Carrefour,” said Gerben van der Lugt, head of LED-based indoor positioning at Philips Lighting. “Our connected lighting system will enable Carrefour to differentiate itself and improve the shopping experience. The system is not only very accurate but also quite easy to install: there is no need for another parallel infrastructure”. This indoor positioning system does not read information on a shopper’s smartphone. “This one-way data stream is picked up by the camera on the smartphone. The shopper can opt-in by using the retailer’s app.”, explains Marlène Tisse, retail marketing manager, Philips Lighting France.

After downloading the Carrefour app, the shopper can use it in different ways: They can choose products from the promotions’ catalog and add them to their shopping list. Once in the supermarket, the shopper can locate themself and their selection of special offers, or can just choose a specific promotion using the Carrefour app. While shopping, the customer can locate other discounts around them and check them out, and can also then choose to “like” a product on special offer. In addition, the application can provide information to Carrefour employees about when a product on special offer needs restocking. “We are always on the lookout for innovations to facilitate customers’ navigation in our stores and meet consumers’ expectations,” said Céline Martin, director of commercial models and innovation for Carrefour hypermarkets in France.

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My indoor GPS

Thanks to this new application, which uses Philips technology, we are now able to provide our customers at the EuraLille Carrefour with a new service, enabling them to quickly search and locate their preferred promotions or detect all the promotions around them when in-store. This is a real time-saver for an urban customer base!” The “Promo C’ mobile app was created by Think & Go and can be downloaded from today from Apple’s App Store. According to studies¹, smartphone penetration is expected to exceed 79 % in Western Europe and North America by 2017. The influence of mobile devices on shoppers’ in-store purchase decisions is increasing, with 68 % of shoppers already reported to use their mobile phones to browse, shop, or find product information when out shopping. Uptake of near-shelf couponing technology, which delivers tailored information to shoppers at the point of sale, is also growing with 56 % of US supermarkets expecting to deploy this technology in the next year.

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In-store navigation to enhance the shopper experience

Indoor positioning can support a range of location-based services that make shopping a more interactive, personalized, and fun experience. Furthermore, staff can locate and find products more easily, can tag issue reports with location information, and can get location-based re-stocking instructions. Transmission of positioning data even works when the lighting is dimmed. According to Gerben van der Lugt, “more applications are possible in the future. We have already tested the system in the Boerhaave Museum, the National Museum for Science and Medicine in Leiden, the Netherlands. Visitors were given a tablet with a pre-installed app containing rich multimedia content about the exhibits. Acting as positioning beacons, the individual lighting fixtures transmitted their location to the tablet’s camera which triggers the app at specific locations. The survey revealed that 67 % of visitors liked the fact that the tablet automatically provided additional relevant information at the various information points and 63 % of visitors said that

Supermarket lighting acts as an indoor positioning grid

Each Philips light fixture sends a unique identification code using Visible Light Communication (VLC)

Shop in store

Now location aware, the mobile app delivers location-based promotions to the shopper

The mobile phone camera detects the code in the light and identifies its location

Philips LED-based indoor positioning technology is easy to scale, accurate to a sub-meter, does not require additional investments besides the light fixtures themselves, and offers at least 50% energy savings.

the tablet made the visit to the exhibition more enjoyable and interesting. We also believe that ultimately such a system will be appreciated in offices, warehouses and for example in hospitals where it can help people to find their way and feel more at ease that they will arrive at the doctors’ appointment in time… We are heading way beyond lighting!”

Client Carrefour Installer IBA Lighting systems Philips Indoor positioning Website www.carrefour.fr

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Using the indoor positioning system, visitors were able to call up more information about the exhibits they were looking at.

BOERHAAVE MUSEUM, LEIDEN, THE NETHERLANDS

Making history By Ruth Slavid

An exhibition at the prestigious Boerhaave Museum in the Netherlands about the centenary of Philips’ research looked forward as well as backward, partly by employing innovative technology as part of the interpretation.

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There is always a temptation when setting up an exhibition looking back over a century of achievement of giving it a feeling that is just too... historic. This is something that both Philips and Dirk van Delft, director of the Boerhaave Museum, were eager to avoid when setting up an exhibition about 100 years of Philips’ research at the latter institution, the leading science museum in the Netherlands.

Instead, it used some of the latest technology, including a technique of indoor positioning technology using LEDs which was pioneered at the exhibition, and has since found a commercial application. The result was an exhibition that was engaging, approachable, forward looking and – yes – illuminating.

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Dirk van Delft explained, ‘We wanted an atmosphere that looked forward. Not just a look at the past and a lot of brown wallpaper.’ It worked with Dutch design practice Northern Light to create an exhibition that said as much about the company in the approaches that it used as in the actual information that was on display. One of the technologies employed was Philips’ Luminous textile panels which can be used to display images – ideal for an exhibition. But the star of the show was definitely the newest technology. This is a method of providing positional information when people are inside a building and GPS systems are unlikely to work. Known as Philips’ LED-based

We wanted an atmosphere that looked forward, not just at the past.

Indoor Positioning System, the system works by using a dense grid of LED lighting fixtures which, in addition to providing light, also communicate information about their positions. The main application is expected to be in retail, where users will be able to download an app which will then allow their position to be identified. They will then be able to receive offers and other information related to their position in the store. At the Boerhaave exhibition, visitors were given iPads which used their positions to give them information relating to the exhibits that they were near. ‘The public liked it because it was very modern,’ van Delft said. Surveys conducted by Philips showed that the application was generally popular and that many visitors grasped the technical value.

Left: The presentation was simple and modern. Above: Visitors could learn how central research is, and always has been, to Philips.

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We are collaborating with more universities and research institutions than ever before.

Of course, one application does not make an exhibition. In this case, there was a fascinating story to tell, and it was told well. Subtitled ‘100 years of inventions that matter,’ the exhibition started with the early history of the light bulb, and moved on to areas ranging from the development of radio to the use of light technology in MRI scanners to keep children amused and relaxed. Ferrie Aalders, head of business excellence at Philips Research, said that one of the aims of the exhibition was to make people in the Netherlands aware just how active Philips still is in research. Because research activity, which was once carried out solely in the Netherlands, has spread to a number of locations around the world, there is a perception in the home country that the level has now reduced – an erroneous assumption which the exhibition was able to correct. ‘The Dutch perception is that research activity has reduced,’ Aalders

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said. ‘In fact we are collaborating with more universities and research institutions than ever before. We are now one of the largest industrial laboratories in the world.’’ In the last few months of the exhibition, there was an addition in the form of the photography of Ed van der Elsken who, before he died in 1990, documented Philips’ research facility in his own gritty black and white manner. There were also conferences associated with the exhibition. Over the period of the exhibition, attendances at the museum rose, said van Delft, by around 20 to 30% - ‘and the exhibition was largely responsible.’ Aalders said, ‘We were very honoured that such a prestigious museum wanted to pay attention to the first century of our company.’ Evidently the exhibition has been mutually beneficial to the company and the museum, as well as fascinating

Left: Learning about the evolution of cassettes and portable music. Above: Visitors were given ipads to use to explore the interactivity.

the public. Retail giant Carrefour has now implemted our LED-based Indoor Positioning technology in its store in Lille, France. How it uses it will, of course, be the retailer’s own decision. But Carrefour for example, said Aalders, created a mobile app that responds to the shopper’s position in the store, providing information about offers that arein their vicinity. It seems appropriate that an exhibition about the history of research could also act as a proving ground for the latest technology.

Client Museum Boerhaave Exhibition concept Philips Research Lighting solutions Philips Luminous textile panels Indoor positioning Lighting controls Dynalite Management System Websites www.museumboerhaave.nl www.research.philips.com

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ÂŠ Carlos Cazurro

Many hospital buildings use LED in some areas, but the challenge that Hospitales NISA has embraced is to use them in every area.

NISA HOSPITALS, SPAIN

Hospitals embrace LED 100% By Carlos Cazurro and Javier Alcolea

The LED lighting incorporated provides better visual comfort for workers as well as patients

Hospitales NISA has become the first Spanish private health group to light its centers using only LED lighting technology. If you look at the way it has developed, you will not find it surprising that Hospitales NISA has chosen to illuminate its health centers with LED lighting. Since the group was founded nearly 50 years ago with the clear aim of improving the quality of health services in the Valencian Community of Eastern Spain - over the half century, it has grown steadily with an emphasis on improving the user experience on all the specialist services that it offers. Joaquín Montenegro, managing director of Hospitales NISA, said, "The LED lighting incorporated in the hospital sector provides better visual comfort for workers as well as patients, whilst increasing the feeling of well-being in workplaces” These are the seven centers

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that the organization has in Valencia, Castellón, Madrid and Seville. "From the very first moment that we decided to change the lighting, we said that we didn’t want any other lighting solution that wasn’t LED,” said José Manuel Guillot, infrastructure and maintenance manager for the group. “we wanted lighting that not only met our requirements of quantity, quality and visual comfort but that would also offer us the maximum energy efficiency", explains. Speaking about the change to LED, Joaquín Montenegro said: "It allows us to reinvest these savings in healthcare equipment to provide the best technology to healthcare workers and patients and to ensure maximum security in both the diagnosis and treatment of different pathologies".

For Philips Lighting, the chief challenge was to illuminate common areas, creating homogeneous lighting while meeting the high standards of lighting needed for individual circumstances. And to doÂ all this without neglecting energy efficiency and while enhancing the comfort and well-being of patients, visitors and the health workers in the hospital. For patients, this meant to creating aÂ comfortable environment that inspires confidence and trust. Visitors wanted waiting rooms that were transformed into relaxed areas and healthcare professionals needed quality lighting that wasÂ functional, to make diagnosis easier and to allow them to perform tasks more effectively.

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CoreView Panel photometrical curves, elevation and top view.

CoreView Panel Enables a simple switch from basic conventional luminaires to LED luminaires – Uniform surface of light for general lighting – Color temperatures: 3000 and 4000 K – Luminous flux: 3400 lm – Power (+/– 10 %): 41 W – Energy savings of up to 40 % compared to functional TL-D luminaires – Very slim panel height, thanks to side-lit LED lighting – Material: steel housing, plastic rim and diffuser, PMMA optical cover. – Applications: offices, healthcare and retail.

In total, over 8000 light points, covering everywhere from the reception area to the operating theatres, were replaced. The old luminaires that used fluorescent tubes, downlights with compact fluorescent lamps and halogen lamp spots, were replaced by ranges, and lamps from the CoreLine and CoreView ranges and the Master LED family which produced increased efficiency and quality – improving the uniformity of lighting versus the previous lighting installation. "The results achieved with the LED CoreView panels have been especially amazing," says José Manuel Guillot. "You might have thought that these panels from Philips had been specifically designed with hospitals in mind." This is because CoreView Panels respond ideally to careful design, without compromising quality specifications. "Based on LED technology, CoreView Panel is a surface of uniform light and high energy-

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Efficiency lighting and benefits for health

Client Hospitales NISA

saving efficiency, with an excellent performance distribution,” said Rocío Fernández, technical office manager of Philips Lighting Iberia. “Therefore, this luminaire generates comfortable and welcoming interiors, which work well for both patients and visitors, as well as for healthcare personnel", In addition, the panels’ long service life – 70,000 hours – means that there is no maintenance cost over eight years, even with a hospital that is functioning 24/7. In a hospital, lighting typically accounts for 22 % of the overall electricity bill. The new lighting installation at Hospitales NISA is saving 64 % on these lighting energy costs, whilst also delivering significant CO2 emission savings over 5 years. In fact, the CO2 savings over this period equate to the same as planting 21,000 trees – a great action to preserve the environment!

Cities Valencia, Castellón, Sevilla and Madrid Energy consultant Airentis Lighting design Hospitales NISA Infrastructure and Maintenance department Lighting solutions Philips CoreLine Downlight LED, LED CoreView Panel, MasterLED Spot MR16 Websites www.hospitales.nisa.es www.lighting.philips.com/main/prof/ indoor-luminaires/recessed/coreview-panel

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VINCENT LAFORET, PHOTOGRAPHER, AIR PROJECT

Cities of Light By Justin Carroll

An editorial assignment on psychology and coincidence led US-based photographer Vincent Laforet to fulfil his dream of capturing aerial photographs of cities by night. These images, collated in a new book, AIR, demonstrate how lighting is changing our cities for the better. What is the AIR project? The AIR project was born out of an assignment in 2014 on psychology and coincidence. I proposed that cities at night looked like brain synapses or computer chips from high altitude. The photos were published online and people seem to have this visceral reaction to them.

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Think about when you’re on Fifth Avenue looking up at skyscrapers all around you. You feel small, insignificant. But, when you’re up in the air looking down on these cities, you suddenly realize how much more connected we are.

Modern, energy-efficient lighting is making these photographs possible, and beautiful

Page 48-49: Tower Bridge crossing the Thames in the heart of London Left: Las Vegas, light in the night

Why did you choose to take them at night rather than in the day? I have been waiting 27 years to take photographs of cities at night. Every time I land in a new city, I’d see these scenes out of the window and wished I could capture them. It’s just been impossible until now; we’re at a time when cameras are able to photograph this very low light from a helicopter in a way they couldn’t even two years ago. That’s why no one has done this before, and it’s what has allowed me to do it now.

Lighting at night is essential to the series. Cities in the day are a mass of buildings and concrete. At night, you feel this pulse, this energy, coming from these lights as though the city is a living organism. And this comes at an interesting time – most cities are evolving into alternative, modern lighting, like the more efficient LED lights.

And what does this change in lighting mean for the cities and for the photographs? Had we shot this assignment a few years ago, it would not have looked the same. Were we to shoot it a few years from now it wouldn’t look the same either, because the cities will have been transferred over to these new lights. London is a good example of this. I first shot London in 2008, and it looked utterly lackluster; it was mostly dark, with a bit of tungsten light, a little fluorescent.

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But now, with the newer, brighter lights, a lot of which are daylight-balanced, London is full of these incredibly rich blues. You’re seeing a cornucopia of colors – tungsten, sodium vapor, fluorescent green and magenta, but mostly you’re seeing those daylight-balanced bulbs that, in relation to those, are blue. These photographs show us lights that are always there but, because our eyes automatically adjust to them, we don’t see them. Is each city different depending on the lighting? Cities like New York and London are very bright in the modern parts. Piccadilly Circus and Time Square are hugely bright and colorful. Whereas Berlin hasn’t yet modernized its lighting so it is maybe four times darker, which makes it difficult to

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photograph. Barcelona has moved some lighting to the new, modern LED lighting, so you can see the history of the city, the modernity. And in places like L.A., you can even see socio-economic divides where the richer areas have modern lighting, and the poorer areas have older lights. You can still see East and West Berlin through the different levels and quality of illumination. How do these different light sources influence the images you capture? These images are all about the lighting: The move to new, energy efficient bulbs has made these images possible. Three or four years ago, you’d fly over a mostly yellow dark, almost depressing city, all gloomy and orange. But this new lighting is much more daylight-balanced and full of life. It gives you energy.

I think we’re at the apex for lighting in terms of beauty. This is the perfect time – a lot of these lights and colors will disappear in a few years in most major metropolitan cities, because the sheer energy saving of modern lighting solutions is impossible to ignore. And that’s a good thing. And what about the architecture of a city? The materials, the styles of building in a city, do they transform the images? Architecture is a big factor. Some architects use light more than others. Some buildings, like London’s Gherkin, or the new World Trade Tower, radiate light. Some reflect light, and some architects project light on to the buildings.

At night, cities look like brain synapses or computer chips

So was Las Vegas your favourite city to shoot? It’s impossible to pick a favorite. London was the biggest surprise. If you look at a map of London it’s best described as chaotic and, when I’d flown over before, I’d been unimpressed. But, perhaps

because of the Olympics-related modernization, London was unbelievably impressive at night. Chicago is another one: you fly over Chicago and can see Downtown is overwhelmingly sodium vapor lighting. It’s very vibrant, but you see endless rows of lights for miles and you can see how much the lighting is bringing life to this city. What is the message you’d like to convey through these photographs? We’re all much more connected than we realize. In this digital world, there’s a weird artificial distance and we forget the world is smaller than we think. We have a lot

more similarities than differences, and borders are quite artificial. Nowhere is this more apparent than up in the air. When you photograph these cities at night, you see this vibrancy, these corridors, avenues and streets that look like pulsating veins of blood, full of energy. We are all part of a much bigger system that is also smaller than we realize. We are all connected and we all share, and share responsibility for, our world.

Left: New York City, Times Square night life Below: New York City, Financial District in Manhattan

But it’s mostly the design of the city you appreciate the most. For example, in Barcelona you can see the history of the city in the design, in the grid, and it’s pretty fascinating. What’s also amazing is that certain cities, like Las Vegas, really look exactly like computer chips. I mean, identical. You couldn’t tell it apart from an image of a computer chip.

Right: Piccadilly Circus in London

What is light for you? Along with breath, light is life. Light is life and energy. The world wouldn’t turn if it was in darkness, and plants wouldn’t grow. And it’s the very basis of photography – the capture of light. It’s the foundation of the image, of everything we see. What does the future hold for the AIR Project? I want to photograph Paris. I had permission, but at the last minute there was some event that meant we couldn’t do it. As a French citizen, not being able to photograph the City of Lights hurts! In Iceland, there’s an island near Reykjavik that is quite isolated, a core of light surrounded by darkness. That would be great to capture. And of course I have yet to photograph cities in Africa, which could be incredible. This doesn’t need to end; we can keep going, photographing cities around the world, showing the different types of development and lighting. This project can continue to show us how cities appear at night and how they take on a totally new dimension, which is fascinating.

Website www.laforetair.com www.storehouse.co/air

ÂŠ Vincent Laforet, photographer, AIR project

Make a statement with patterns of light Add brilliance to your project. Create unique architectural surfaces with patterns of panelized solution, embedding dynamic LED lighting into the spaces you craft.

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