Luminous 18 - The Spirit of Light by Luminous – International Lighting Magazine - ILR

International Lighting Magazine 2016/18 Autumn Issue

Meeting the architects UNStudio and Exploration Architecture

Lighting designersâ&#x20AC;&#x2122; projects From a Turkish mosque by Ayrim Yaser Talu to a Brazilian museum by Monica Luz Lobo

The spirit of light

EDITORIAL As we approach the winter months, we become more aware of the value of lighting. Our towns and cities can become night-time extensions of our living space, and experiences are enhanced by the imaginative lighting of architecture. Cities become places where lighting can extend our leisure time. The award winning lighting for the Kirikkale Merkez Nur Mosque featured in this edition is a demonstration of the way in which lighting can lift the spirits and create a spectacle to be enjoyed by everyone. Similarly, lighting has helped the Museu do Amanhã to become a landmark building as part of Rio’s Olympic legacy. The lighting experience of sports fans at night can be enhanced by not only thinking about the event itself, but also the anticipation before the game when approaching the arena to engagement when arriving. Lighting moves beyond the purely functional to add value to the whole experience of attending the event. There is no doubt that stadium owners are focussing more and more on the times before and after the event itself, creating a “10 hour experience” rather than a 90 minute match. The Cairo Opera House shows how lighting can help those outside engage with the activity inside. It is always interesting to see the response to a design brief, especially when it’s very open with no plans to actually build anything. This is the case for the Clue competition in which students apply their creativity to outdoor spaces. Visualising them either within the scope of existing architecture or with a new physical intervention. With entries coming from all over the world. We have decided to feature this year’s winners as judged by an independent panel. I think this is a great way for young people to get exposure for their ideas and for the profession to be stimulated by new ideas. We hope the Clue competition will go from strength to strength, attracting more entries globally; maybe we will see some of the ideas transformed into reality. I hope that once again we have brought you a selection of projects and personal insights that you find inspiring. Pierre-Yves Panis Head of Design, Philips Lighting

contact us Architects, interior architects, lighting designers… for your international projects, please contact: Germany, Austria and Switzerland: rene.siemer@philips.com Italy: alessandro.conforti@philips.com Netherlands: nico.karres@philips.com or emile.van.dijk@philips.com United Kingdom: nigel.chadwick@philips.com or maria.carolina.wichert@philips.com

colophon published by | Philips Lighting B.V. – High Tech Campus 48, 5656 AE Eindhoven, The Netherlands – www.philips.com/luminous editor in chief | Vincent Laganier steering committee | Jaap Schuuring, Mike Simpson, Lawrence Solaiman, Maria Carolina Wichert editing | Ruth Slavid graphic design concept | one/one Amsterdam printing | APS Group B.V. ISSN nr | 1876-2972 12 NC 3222 635 70452 cover | FC Bayern Munich, Allianz Arena, Munich, Germany – Architect: Herzog & de Meuron photo | © Bernd Ducke more info | luminous@philips.com

1 EDITORIAL

THE SPIRIT OF LIGHT FEEDBACK

DIALOGUE DESIGN INNOVATION INSPIRED BY NATURE Biomimetic architecture by Michael Pawlyn, UK

LIGHTING SYSTEMS BACKSTAGE

Arenas and stadiums

WORKING AT EVERY SCALE

LUMINOUS PATTERNS SHOWROOM

HOW TO ATTRACT CUSTOMERS

CLUE COMPETITION

UNStudio, Amsterdam, Shanghai, Hong Kong

Shopping mall experiences with graphic lights

High Tech Campus, Eindhoven, The Netherlands

Discover the winners 2016

PROJECTS LIGHT AND SHADOWS

TOMORROW IS TODAY

DANCING WITH LIGHT

Kirikkale Merkez Nur Mosque, Kirikkale, Turkey

Museu Do AmanhÃ£, Rio de Janeiro, Brazil

The Opera House, Cairo, Egypt

CONTENTS 3

BIOMIMICRY ARCHITECTURE

Design innovation

inspired by nature By Isabelle Arnaud

Â© David Quixley/Shutterstock

Michael Pawlyn

The biological process of natural selection is actually a series of trial-and-error experiments in which organisms evolve to have the form and function best suited for survival in their habitat. And as resources are scarce, nature tends to favor organisms that are very efficient. We can optimize our lighting designs by learning from this ongoing natural experiment: biomimicry.

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“We must change from a fossil fuel economy to a solar economy.” In technology and process management, biomimicry draws inspiration from nature to develop innovative solutions that use resources much more efficiently. In the fields of architecture and lighting design, this represents a new paradigm as it goes beyond “sustainable design” towards regenerative design that involves optimizing positives. When searching for genuinely sustainable building design and technology - designs that go beyond conventional sustainability to be truly restorative - we often find that nature got there first. Michael Pawlyn set up Exploration Architecture in 2007 to focus on radical approaches to environmental sustainability. From 1997 to 2007 he worked with Grimshaw Architects and was part of the core team of architects that designed the Eden Project. He has extensive experience of working on buildings for the arts both in his capacity as an architect and as an environmental consultant. In 2006 he was appointed to represent the practice as a founder member of the UK Green Building Council and in 2007 was elected as a committee member of ‘The Edge’, a think-tank dedicated to addressing important political, social and professional issues.

The Eden project According to Michael Pawlyn, “If we could learn to make things and do things the way nature does, we could achieve savings in resource and energy use at a factor of 10, 100 or maybe even 1,000. And if we’re to make progress with the sustainability revolution, I believe there are three really big changes we need to bring about. Firstly, we need radical increases in resource efficiency. Secondly, we must shift from a linear, wasteful, polluting way of using resources to a closed-loop model. And thirdly, we must change from a fossil fuel economy to a solar economy. And for all three of these, I believe, biomimicry has a lot of the solutions that we’re going to need.”

When working on the Eden Project, the team had to create a very large greenhouse in a site that was not only irregular, but was also continually changing because it was still being quarried. Michael Pawlyn took inspiration from biology, which provided a lot of the clues. For instance, soap bubbles helped his team generate a building form that would work regardless of the final ground levels. Studying pollen grains and radiolaria and carbon molecules helped the team members devise the most efficient structural solution using hexagons and pentagons. They started exploring a material called ETFE, a high-strength polymer. “The great thing about it is you can make it in units of roughly seven times the size of glass, explains Michael Pawlyn and it was only one percent of the weight of double-glazing. So that was a factor-100 saving.”

You could look at nature as being like a catalog of products, all of which have benefited from a 3.8-billion-year research and development period. And given that level of investment, it makes sense to use it. Michael Pawlyn gives a few examples of projects that have explored these ideas and brought radical increases in resource efficiency.

LIGHT SOURCE 7

The conventional way of designing office building is to just think of the right distance between windows and walls. In London, buildings may be 25 meters deep but, after calculation, the team found that the right dimension was 12 meters. “We chose to form two blocks of floors with a linear atrium down the middle, Pawlyn says. But we were getting this pattern of shading towards the middle of each floor, so we decided to bend those floor plates so they would follow the pattern of light and we could get an even quality of light all the way along. We ended up by undulating the platforms so no one was further than 6 meters from the nearest window”. The challenge was to get light further down into the building. “We explored the possibility of harvesting light from the top of the building and focusing that into fiber-optic tubes. We took inspiration from a rainforest plant called anthurium warocqueanum which evolved lenses all over its leaves”. The office building ended up with a fish-eye style mirror lens in its atrium, enabling daylight to come down and reducing the use of artificial lighting.

8 LIGHT SOURCE

Towards regenerative lighting designs Michael Pawlyn shows how light is gathered, focused and distributed in biology, how biological algorithms can help us solve complex design problems, and how this approach can help us move towards truly regenerative lighting designs. While working on an office building with Yaniv Peer who led the design, the architect insisted on having a biologist in his team, “first because we wanted to save energy and second because we wanted a very healthy building for the occupants and as much daylight as possible. With our biologist we started looking at examples of gathering light in biology”. The team found inspiration in the spookfish, which lives in the depths of the ocean. He also used the example of stone plants which grow in desert regions and have translucent pockets in their leaves that allow light to reach their photosynthetic foliage tissue hidden in the ground. The third example he used is of starfish which live 500 meters below the surface of the ocean where light levels are very low. They have evolved near optically perfect lenses over their skin.

‘Biomimicry in Architecture’, 2nd edition When searching for genuinely sustainable building design and technology – designs that go beyond conventional sustainability to be truly restorative – we often find that nature got there first. More than 3.5 billion years of natural history have seen the evolution of innumerable forms, systems, and processes that can be applied to modern green design. Aimed at architects, urban designers and product designers, this new edition of ‘Biomimicry in Architecture’ looks to the natural world to help us achieve radical increases in resource efficiency. Packed with case studies predicting future trends, this edition also contains updated and expanded chapters on structures, materials, waste, water, thermal control and energy, as well as an all-new chapter on light. An amazing sourcebook of extraordinary design solutions, ‘Biomimicry in Architecture’ is a must-read for anyone preparing for the challenges of building a sustainable and restorative future. Summary of the Webinar that took place online on June 9, 2016 at the Philips Lighting University, Michael Pawlyn, Architect, Director, RIBA, FRSA

Websites www.exploration-architecture.com www.philips.com/lightinguniversity

LIGHT SOURCE 9

UNSTUDIO, AMSTERDAM, SHANGHAI, HONG KONG

Working

at every scaleÂ By Ruth Slavid

UNStudio is a practice with projects round the world, ranging from small products to the city scale. Its founder, Ben van Berkel, sees light as one of the most important tools in his work.

10 PLATFORM

Canaletto Tower, London (UK)

UNStudio has built a worldwide reputation as an architectural office, but that is not how founder Ben van Berkel sees the practice. “We are beyond architecture,” he says. “We are fascinated by everything that inspires us – by design, architecture, how we use infrastructure”. The result is that the business works in a range of fields, at a variety of scales. So while it is designing products for companies such as Walter Knoll and Alessi, it is also working in China on a massive scale, on mixed use buildings that Van Berkel describes as “almost a city in a building”. In between comes the architecture at a “normal” scale – theatres, museums, housing and other building types. Van Berkel attributes this flexibility to his UK education at the famous Architectural Association in London where tutors took a holistic approach. As a result he sees himself in the same category as architects like Norman Foster, Richard Rogers and Nick Grimshaw – “not afraid to design a yacht, a bridge or a residential building”.

UNStudio has a distinctive style, with many of its buildings being rather sinuous, organic and complex. While projects need to be suited to place and client, how is it possible to keep a coherent approach? Although there is work in nearly 25 countries, and significant offices in Shanghai and Hong Kong, between them employing around 60 people, “I always try to control the knowledge from Amsterdam,” Van Berkel says, describing his central office, which employs 140 people. At the same time, he has systems in place to ensure that knowledge and responsibility are shared among the staff. “We have knowledge platforms within the organisation,’” Van Berkel said, “with ideas around sustainability, new materials, and computational techniques... we distribute and store knowledge in a proper way, always educating staff in the right manner”. This allows knowledge acquired in one part of the world to be used in another. So, for example, on the Canaletto residential tower in London, the practice is exploring the idea of “super-living”, of living

PLATFORM 11

“I have always wanted to be at the forefront of technology”.

Galleria Centercity, Cheonan, (KR)

Ben van Berkel

sustainably with a connection to health and social sustainability – an idea, Van Berkel says, that has evolved from a number of projects around the world.

“You can create a sense of warmth and welcome or guide people and help to orientate them in the right direction. It is one of the most essential qualities in architecture”.

It is always interesting to learn how successful architects see architecture. For Van Berkel, “it is important that you know that the architecture woks on all levels – for the client, the city fabric and organisation, and for the future of the city”.

It is not surprising, when you consider Van Berkel’s love of technology, that he designed one of the first media facades, on a galleria in Seoul, South Korea in 2003, working with Rogier van der Heide.

Since van Berkel is so interested in knowledge and in sharing knowledge, it is no surprise that he is an enthusiast for BIM. “I was one of the first in the 1990s to use 3D modelling,” he says. “I believe that it is important to use advanced tools and I have always wanted to be at the forefront of technology”.

In a second galleria for the same client in Cheonan, South Korea the emphasis was also on the interior. In a pioneering use of LED, Van Berkel used light lines in a suspended ceiling that echoed the forms of the structure below. The effect, he says, was that “as you looked up in the blackness, the entire ceiling became a chandelier”.

Light is one of van Berkel’s most important tools when he is designing a building, in particular daylight. “If you don’t work with light you don’t know the effects you can produce,” he says.

Now, he says, “the most exciting aspect of light is that it is data. You can connect a phone, make it interactive, and create lighting systems that can be supported to make a city walkable, safer, and more social. “In interiors, he says, “you can have a different mood every hour. It’s not a gadget quality of new technology.

12 PLATFORM

The W.I.N.D. House, North Holland, (NL)

Education Executive Agency & Tax Office, Groningen, (NL)

The beauty is that it can connect to so many human aspects of our lives. You can make people healthier and avoid them working with inadequate light every day and getting tired eyes”. UNStudio did an office project in Groningen that plays with the interaction between daylight and artificial light which Van Berkel describes as “a constant play and dynamic relationship between energy saving and health”. Some of the ideas that he used came from learning he acquired in hospitals, which are interested in the latest thinking in the way that lighting and ventilation can affect health.

“The beauty of light,” van Berkel says, “is not so much to do with the light itself but what it is projected onto. “It may be at the forefront of technology, but it is using that technology not for its own ends but in the service of atmosphere and emotion. “If you think about how light can create a quality of texture or inflection of colour,” he says, “and generate an architectural mood, you will realise how important it is. The extent of what we can do with light is so diverse, it is the most wonderful element”.

Another project that explores technology in all its forms is the W.I.N.D house in North Holland, which van Berkel describes as “a smart house for a family that believes in sustainability”. The house generates most of its own energy and can be controlled from an iPhone. But this is not hair shirt sustainability. The house has a beautiful organic form, designed as a series of petals to maximise light and views.

PLATFORM 13

14 ONDERWERP

RETAIL LIGHTING IN SHOPPING MALL

Shopping mall:

how to create inspiration By Isabelle Arnaud

Shopping malls are no longer boring places where you must go every Saturday: in and out, as fast as you can, to get back to more amusing leisure occupation. Instead, they have become places for planned visits, a TRUE destination. Retailers are working with sociologists, architects and designers to build on all their experiences in order to convey a single message: be inspired by the act of shopping.

“How can we use design to create commercial success?” asks Cristiaan Rikkers, the CEO of Jos De Vries, the international agency which specializes in retail strategy, design and branding. According to him, the future of retail will center on a collection of different “touch points” and retailers are faced with a number of challenges. The process is made even more complex when you realize it’s actually three dimensional, because you also have to consider the use of different devices (mobile, desktop and in-store) and the messages that are communicated. “You can simplify,” says Rikkers, and enrich your message at the same time, meaning that you provide better navigation and more information, but also make everything more experiential to create inspiration. There is simplification on one hand, and enrichment

on the other. The customer’s profile determines the road they travel in the buying process, so it becomes important to make clear choices about target audiences and customer in order to properly support the customers in the buying process. That’s what he explains in his book “New customer journey”. This “journey” is divided into three moments “before, during, and after” the purchase. That’s why it’s important to ensure that each independent mall area – from the parking, the façade and the entrance, through the atrium and corridors, to the shopping and dining area – has the right ambience and provides the intended experience, while also ensuring that each is part of a consistently attractive overall environment.

LIGHTING PRACTICES 15

Outlet Park, Szczecin, Poland Investor Echo Investment S.A. Architect Open Architekci, Daniel Mermer Lighting solutions Philips Lighting Vaya Linear, EFix Gridlight Philips Ilti Luce Miniflux HP LED

“Before”: Attractive façades According to Dariusz Alot, architect and planning manager responsible for design execution, architecture and construction at ECE Project Management Poland, “In facades of commercial buildings, lighting is an additional but very important element of decoration. A major aspect is to properly balance both the amount and type of light. To a great extent, the choice of lighting elements depends on the facing materials and the form of the building.” As Marcin Gryt, architect and lighting consultant explains “For a few years now,

16 LIGHTING PRACTICES

Fontanar shopping mall, Bogotá, Colombia Client Amarilo, Spectrum Architect Development and Design Group, DDG Interior design Lourido Quijano Arquitectura, Miguel Soto Casa & Cia Lighting designer Theo Kondos, Theo Kondos Associates Liliana Mouthon, Gestion-e Lighting solutions Philips Lighting Vaya Linear LP, MAD Batten Philips Color Kinetics ArchiPoint, iColor Powercore Lighting controls Philips Color Kinetics Light System Manager gen 4

a combination of lighting systems based on LED technology with control systems has made it possible to have unlimited fun in terms of façade illumination, as in Outlet Park Szczecin, Poland.” This development, the largest outlet center in the Western Pomerania region, consists of 68 shops, a supermarket and seven cinema screens, offering a total usable area of 21,700 sq². The facility, which is a combination of a standard shopping center and an outlet center, unites retail and service outlets under one roof. Exterior lighting of the building, parking lot, passages and corridors, as well as comprehensive interior lighting,

were very important for the entire project. The façade, which makes a feature of the harmoniously incorporated front of the Helios cinema, uses LED technology exclusively, with Ilti Luce Miniflux HP LED, Vaya Linear LED luminaires and individually designed lighting lines, necessary to achieve the effects prescribed in the design. The exterior lighting emphasizes the architecture and highlights the elegance of the building’s façade. The use of e nergy-efficient LED technology has made it possible to achieve a positive energy balance for the facility, which is environmentally friendly.

Fontanar shopping center, located in Chia, in the north of Bogotá, Colombia, has 134,000 sq² of commercial area. Responding to the lighting design and vision of the designer Theo Kondos, Philips installed a huge net of RGB dots in the main roof of the mall. These daylight-visible light points provide dynamic illumination, creating a special experience and welcome to the mall. The whole lighting installation is aligned to the green construction concept that is used throughout the project, with an energy-saving solution aimed at LEED certification.

LIGHTING PRACTICES 17

Centrum Galerie Dresden, Germany Client Corio Project management Drees & Sommer Installer D & L Lichtplanung Lighting solutions Philips luminous textile with Kvadrat Soft Cells Lighting solutions Philips Color Kinetics ColorGraze Powercore, eW Blast Powercore

“During”: Lighting design provides a unique experience for shoppers Once the consumer is in the mall, everything must be done to make them comfortable and stay longer. “The customer journey needs to be a seamless process across many platforms, channels and touch points”, says Rikkers. Part of what attracts customers is ambience and an engaging space, two benefits that were achieved by placing two enormous luminous textile installations near the entry to the Centrum Galerie in Dresden, Germany. The aim was to create a welcoming, exciting meeting place that is more than just a place to shop.

18 LIGHTING PRACTICES

The installation uses dynamic and colorful LED light content with each wall holding six huge luminous textile panels of 1.2 x 5.16 meters each. Philips’ luminous textile integrates multi-colored LED modules within acoustic textile panels to display dynamic content, which has the dual effect of creating ambience and softening sound. Using a connected LED lighting system allows mall staff to change or update the digital content simply and quickly. “Graphic lighting is especially attractive to highlight architectural forms, the shape of the ceiling or elements of interior fittings, which become lighter and more spacious when highlighted by light,” says Małgorzata

Ciania, interior architect with ECE Project Management Poland. “In the Zielone Arkady centre,” explains Alot, “we used spotlights embedded in cobblestone for plastered areas and linear LED lighting along the upper edge of the building. It’s an attraction in itself.”, says Ciania. “The chandelier is made up from more than a thousand spotlights, whose shape is inspired by a cloud. Full colour and movement control is used during events held at the centre.”

Zielone Arkady, Bydgoszcz, Poland Client ECE Projektmanagement Polska Architecture & Construction Dariusz Krysiak Lighting designer Bartenbach Lighting solutions Philips Lighting LuxSpace recessed, Vaya Linear LED Philips Ilti Luce custom made for the LED pipes RGB Philips Ilti Luce custom back lighting for Barrisol panels

“After”: encourage the customer to come back By enhancing the ambience of shopping malls with dynamic and comfortable lighting solutions, designers can contribute to create a unique experience. “Whether we feel well and relaxed somewhere and are happy to go back there is something beyond our conscious perception of the interior decor. This is determined, to a great extent, by light”, says Ciana. The Vegas Mall, Ginza, in Moscow is a perfect example of how “the mall turns shopping into an exciting adventure filled with mystery and change” as Emin Agalarov, commercial director of Crocus Group, puts it.

20 LIGHTING PRACTICES

The idea was to recreate Tokyo’s famous Ginza shopping street within the mall. As one of the busiest districts in Toyko, Ginza has a pulsating, vibrant atmosphere. Managers wanted to recreate this atmosphere in the new area and embed it harmoniously into the rest of the mall. The ambitious concept was brought to life using a range of LED lighting solutions that were embedded in a variety of surfaces. An array of dynamic lighting patterns and color grazing effects enhances the experience even further, continuously changing on each surface to create different moods and effects as shoppers move along the street.

And to complete the illusion, a myriad of sparkling LED lights twinkle like a starry night sky to recreate Tokyo’s outdoor shopping experience indoors. The lighting solution now gives a dazzling performance that entertains and amazes shoppers, bringing a taste of Tokyo to one of the most significant retail developments in Russia. The concept has transformed this shopping mall into an exciting visitor attraction that arouses shoppers’ curiosity and encourages people to stay longer… and come back.

Vegas Crocus City, Moscow, Russia Client Crocus City Group Project management Dmitry Pantyushin, Konstantin Kuznetsov Architect KlingStubbins Installer Real-R Lighting solutions Philips Color Kinetics iColor Cove MX Powercore, iColor Flex MX, iColor Accent MX Powercore

KIRIKKALE MERKEZ NUR MOSQUE, KIRIKKALE, TURKEY

Light and shadows By Jorge Rubio

Â© Idris Ekinci

Ayrim Yaser Talu, the lighting designer in the studio of ZEVE Engineering and Lighting in Istanbul who was responsible for the Kirikkale Merkez Nur, has been awarded the “Award of Merit” in the 33rd edition of the IALD International Lighting Design Awards 2016 and second place for structure high budget of the darc awards 2016. Luminous magazine interviewed him.

“Could we really use light to add emotion to the building? Does light really have the power to influence people?” Ayrim Yaser Talu

24 PROJECT I

Ayrim Yaser Talu

Designed by the prestigious architect Necip Dinç, the Kirikkale Merkez Nur mosque is in the city of Kirikkale in Central Anatolia (Turkey). Finally completed in 2015, the huge structure has an interior area of 26,000 m2 and can hold up to 10,000 people. The mosque has a role as a religious symbol of the city, during both night and day, so the lighting design needed to highlight and demonstrate the spiritual identity of the building at night. Ayrim Yaser Talu, the lighting designer in the studio of ZEVE Engineering and Lighting in Istanbul, embrace this challenge and overcame it with the greatest of success to be awarded the “Award of Merit” in the 33rd edition by IALD – International Association of Lighting Designers. What is the architectural scale of the Merkez Nur mosque? Ayrim Yaser Talu: Inspired by the late Ottoman architecture, the mosque consists of a main dome, eight carrier columns, four secondary domes, five entrance domes and four three-balcony minarets. The main dome has an inner diameter of 20m and a height of 32m. The height of the minarets is 61m. The mosque extends in the westerly and easterly directions, with a domed portico surrounding the courtyard.

What materials were used? How was it built? The façade of the mosque was clad mainly with Anatolian white stone, whereas the cladding to the cornices and other projecting elements was in Ankara Sincan andesite stone. The window frames and pediments are made from black Kutahya marble and the columns are of white Marmara marble. Additionally, the undersides of the minaret balconies and the column heads were ornamented with stone muqarnases (A type of corbel used for decoration in Islamic and Persian architecture). All the domes and roofs were covered in 2mm of pure lead. The crescents which complete the appearance of the domes are custom-designed and made up of copper sheets shaped by hand. What was your main creative motivation/inspiration? Our lighting design work started with a few simple questions: could we really use light to add emotion to the building? Does light really have the power to influence people? Our answers to these became our main motivation throughout the design stage.

PROJECT I 25

What is the spirit of the lighting on this project? Mysticism. We used ‘light’ and ‘shadow’ to add a mystic appearance to the building and to give form and definition to it by lending contrast at various points throughout the structure. For example, the incident light coming from a short distance away added three-dimensionality to the onion-shaped mini domes on the carrier columns by creating heavy shadows and allowed sparkles on the little crescents. Whereas the half-domes were left in the dark, the patterned windows underneath were lit. The big windows in the lower half of the mosque were accentuated by the lighting up of narrow beams, while creating sharp dark surfaces between them. We achieved dramatic effects on the columns with muqarnas on top by projecting narrow beams from a short distance. What was the brief for the lighting design? It asked us in our design approach to emphasize the spiritual identity of the mosque and to create an icon for the city of Kirikkale. How was light embedded into the façade? We wanted to preserve the daylight appearance of the architecture. Therefore, the products we used were painted the same colors as the surfaces and placed in niches and behind flowerpots wherever possible.

26 PROJECT I

How did you play with the color temperature? We selected the color temperatures of the light sources in order to create fine gradations between the mosque’s complex surfaces from the bottom up. The main dome was lit from its slopes in cool white and the brass crescent on the top of it and minarets in super-warm white, while the carrier columns around the dome and the patterned windows between them were lit in warm white. The inner surfaces of the entrance domes were lit homogenously with a wide beam of warm white fixtures, whereas the main door was highlighted with a spotlight of super-warm white hidden behind the arch. In order to accentuate the patterned rectangular windows in the towers, cool white fixtures were placed in the niches, whereas the towers themselves were lit with super-warm white in linear narrow beams. Why did you use LED lighting? First of all, we wanted to benefit from the low energy consumption of the LED light sources and precise light beams of LED fixtures. Secondly, the design process for this complex structure was quite challenging so we needed various types of lighting fixtures, with different beam angles and in different powers. At that point we took advantage of the wide range of Philips Color Kinetics’s products.

ONDERWERP 27

What were the main difficulties that you faced? We wanted to foresee all the difficulties beforehand. Therefore, we did very sensitive 3D modelling of the mosque. That gave us, first of all, a basis from which to achieve our lighting design goals. We did a great deal of photorealistic night renderings during the final design. The best part of this was that it gave an interactive environment through which we could get feedback from the architect and the owners. In addition, we saw in advance all the difficulties that we would face in the installation. How were the lighting controls made? Actually we used very conventional approach to lighting control based on pre-planned scenarios. Using the 3D modelling, we created night-time scenarios and grouped the lighting fixtures accordingly. How did the mosque believers respond to this innovative illumination for the city of Kirikkale? The simplest way to describe it is to say that many people were shooting photos and taking selfies with the mosque behind them in the background.

28 PROJECT I

How was the installation carried out and the cabling installed? The installation of the products was another challenge. Depending on the application area, different kinds of mounting brackets were designed. Of course, the cabling was pre-planned before the installation. In some cases, such as in the main dome, the cables were hidden under the eaves.

Client Turkish Religious Foundation Kirikkale branch Architecture Necip Dinç Project coordinator Bekir Gerek Provincial Mufti of Kirikkale Lighting designer Ayrım Yaser Talu, ZEVE Engineering and Lighting 3-D visualization artist Kenan Akifoglu, ZEVE Engineering and Lighting Consultant Rahmi Celik Lighting solutions Philips Lighting eW Burst Powercore, eW Blast Powercore, Vaya Linear LP, eW Graze QLX Powercore, Vaya Flood LP, Vaya Flood MP Websites www.diyanetvakfi.org.tr www.zeve.com.tr

ONDERWERP 29

MUSEU DO AMANHÃ&#x192;, RIO DE JANEIRO, BRAZIL

Tomorrow

is today By Jorge Rubio

Â© Andres Otero

Like a huge ship that enters the Bay and is projected forward into space and in time, the Museu do Amanhã seems to defy logic with its pure and innovative ways during daylight hours, and causes captivating sensations during the night hours when its geometry illuminates ways of spectacular innovation.

Museu do Amanhã attracts visitors with interactive dynamic LED lighting

In the context of the 2016 Olympic Games in Rio Janeiro, an ambitious and innovative project has been carried out in the installation of urban LED lighting at the port area on the west coast Bay of Guanabara which has been entirely transformed. The project, called “Porto Maravilha” (Port Wonder), includes the spectacular “Museu do Amanhã” (Museum of Tomorrow) designed by the prestigious architect Santiago Calatrava.

The lighting design team, led by Monica Luz Lobo, creative director of LD Studio in Rio de Janeiro, faced a number of challenges in a project of monumental dimensions.

The result is a simple and functional design that works with the organic shapes of the building in which vertical and horizontal surfaces are merged. Large openings in the structure allow natural daylight to enter, resulting in an unusual atmosphere for a museum. Taking in to account the natural brightness of the space during the day has resulted in a particular approach to lighting exhibitions, and has led to a solution for all the permanent exhibition areas that

combines two lighting systems. Indirect lighting illuminates the ceiling evenly, highlighting its curvature and avoiding at the same time any distortion of its design. The building uses near invisible equipment integrated in the concrete structure to provide a range of effects. Within the exhibition space, the lighting design emphasizes the horizontal planes with the indirect lighting above making it seem as if they float in an empty space.

Monica Luz Lobo

Energy consumption, renewable energy sources and a joint approach to architecture and lighting have been key to this project, and have resulted in a building that raises the bar on the relationship between urban architecture and the natural environment, resulting in impressive environmental certification.

What was the approach to light on this project? Monica Luz Lobo: The idea was to reveal this huge-scale sculpture through its very own particular kind of light. What was the brief for the lighting design? The architect worked very closely with the lighting designer, so the team was quite sure where to put the light and what the final outcome was to be in terms of the architecture. Efficiency and ease of maintenance were also important components of the brief.

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What is the ambiance of the auditorium? The idea in the auditorium was to give a feeling of being apart from the rest of the building. The wood finishes, the colors and the warm and welcoming light all invite the audience to discover what comes next. What part does light play in the museography? On most of the installations, the lighting supports and relates to the videos and projections. In contrast, in the Oca section at the end of the museum area, light is the star of the show, conveying the message that tomorrow is today and today is the time of action.

How did you work with the curator and the exhibition designer? This was teamwork. There were many meetings and brainstorming sessions to achieve the best balance. What is Fabric Dancing? How do you accent it? Why? This piece, by the artist Daniel Wurtzel, works as a kind of visual inorganic ballet. As the fabric flies over a black glass table (with integrated fans) we have a single point by the axis on the round table, which is the iW Burst Powercore projector with a 23 degree aperture. We chose this in order to avoid undesirable reflections as well as to keep it simple and solemn. The movement of the fabric creates the lighting dynamics.

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Â© Andres Otero

Cube 2 – Ecosystem – outside – a laser-cut metal skin envelops the cube, where the DNA genetic code shows up, while some words and phrases are highlighted with DMX controllable RGB LED dots. Inside, a huge amount of information about the Earth`s ecosystem shows up on video mapping animation, combined with some backlights on the bottom part of the walls.

Cube 3 – Brain – outside – a LED screen shows images relating to the human brain. Inside, backlit glass columns tell stories about the incredible variety of people on our planet. We used the eW Burst Powercore 4000K on the top of each column. How did you light the wooden sculpture “Oca da Imaginação” (Imagination Hut)? We used Philips Color Kinetics iColor MR gen3 RGB with DMX control. We installed an accessory that was developed specially, incorporating it into the bottom knot of each cell in the diamond, with the light varying in accordance with a specific soundtrack. In most cases we have three bulbs on each cell, reducing to two and then one as the size decreases. The aperture of the beam also varies.

What is the concept of Cubes? What was the thinking behind the Cube lighting design? How was it achieved? Each cube has a subject: Cube 1 – The earth is blue – outside – satellite photographs of various places on Earth. The backlighting was accomplished by using LED bars with narrow-beam 9 degree fixtures on the base and top and on each face of the cube. Inside there is a lot of information about the oceans on a video screen and the fabric ballet sculpture.

Why did you use LED lighting in these spaces? Because it is the source that solves all the tasks and enhances the venues. What was the feedback like from the architect? Great, it was pure team work. Everything was done by consensus. The whole process was a big adventure. Challenge is the word to describe it. Most of the solutions had not been tested before. How did visitors react to this building of light? The museum is a success. By mid-July 2016 more than half a million people had visited the site since its opening at the end of last year.

“To reveal the huge-scale sculpture through its own particular light”

Monica Luz Lobo

Client City Council of Rio de Janeiro

Exhibition design Andrés Clerici

Execution Roberto Marinho Foundation

Lighting designers LD Studio Monica Lobo, Daniele Valle, Julien Caquineau

Architects Santiago Calatrava Ruy Rezende Arquitetura Museum curator Luiz Alberto Oliveira Museum exhibition concept Ralph Appelbaum

Lighting solutions Philips Color Kinetics iColor MR16 RBG Gen3, iW MR16 Gen3, eW Burst Powercore, iW Burst Powercore, eW Graze QLX Powercore Philips Lighting Luxspace Websites www.museudoamanha.org.br www.rra.com.br www.calatrava.com www.ldstudio.com.br

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THE OPERA HOUSE, CAIRO, EGYPT

Dancing with light By Jorge Rubio

Opera and ballet nights will never be the same again at the Cairo Opera House. The new dynamic lighting emphasizes the importance of the building as a source of pride in the cultural landscape of the capital of Egypt, and in the urban environment on the banks of the Nile. At the southern end of the island of Gezira, Cairo, on the banks of the legendary River Nile, sits the spectacular Cairo Opera House. The building, considered as a masterpiece of postmodernist, designed by the Japanese architect Koichiro Shikida, opened in 1988, and after 28 years it has earned welldeserved fame for its presentation of outstanding ballet, opera and other emblematic performances.

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It is not surprising that the institution is proud of its status and has felt the need to renew and enhance itself, introducing the most advanced technology in performing arts through the magic of color and lighting. In 2015, Cairo Opera House was determined to revitalize the image of the iconic institution through dynamic illumination of its facades. The management decided to adopt the latest LED technology from Philips Lighting, which, over a period of four months, designed, implemented and installed 160 LED Philips Color Kinetics RGB projectors that have managed to completely transform the nocturnal image of the building and its surrounding urban environment. Philips revealed the new lighting for Cairo Opera House in its sixth consecutive

Capetown to Cairo Roadshow which ended with a visit to Cairo in November 2015. The spectacular transformation achieves far more than simply maintaining the authentic atmosphere of the contemporary building. It provides an innovative, modern and universal approach to lighting the Cairo Opera House, ensuring it is highly visible at night and creating different urban moods. The main concept of the project was to reflect on the outside what happens inside the building, through the use of a number of different dynamic lighting schemes. These identify the stage work taking place inside the opera house through a carefully chosen night image that can be seen from outside. The new lighting emphasises the spectacular nature of the different views of the building, bringing out its structure of straight lines and curved surfaces through the use of lights and shadows.

Four lighting schemes were designed for this purpose: •S tandard: 100% intensity. White lighting 3000K. • Events: 100% intensity. RGB lighting that produces dynamic environments of color according to the spectacle taking place inside the building at that time. • Operating mode: 50% intensity. Energy-saving in night hours. • Formal mode: solid colors illuminate the facades during holidays and official events. Warm colors and red shadows evoke the classic elegance of the main theater during the presentation of operatic works.

Cold blue, violet and purple colors produce a modern and contemporary environment during ballet performances. Intense tones of green and yellow, or any required combination, represent cultural and private events on the facades. Without a doubt, the new lighting designs emphasize the importance of the building as a source of cultural pride for the capital of Egypt. And, at a technological level, the use of efficient digitally controlled LED lights provides energy savings of up to 85% compared to conventional lighting.

Client Cairo Opera House Architect Koichiro Shikida Lighting architect Ramez Youssef Certified value added partner Matrix Company Lighting solutions Philips Color Kinetics Vaya LED RGB

ARENAS AND STADIUMS

Lighting systems

backstage By Ruth Slavid

The experience that arenas offer to spectators is becoming both more technically demanding and responding to a desire for excitement. Lighting designers and technicians explain the how this can be achieved. Demands on arena lighting have grown in recent years, but fortunately technology has developed to match. Broadcasters want both to be able to show games (and in particular replays) at the very highest level, and also to have as much variety and fun as possible with which to entertain viewers during down times. At the same time arena and stadium operators need to attract spectators to live events, to offer them an experience that is more intense than they can get on television. And they need to provide high-class and reproducible conditions for players which, increasingly, players and more particularly their sporting organisations demand.

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And finally, as well as giving spectators a great time, the operators need to make the most of their buildings, so that they can act as symbols of their cities and also host other events. Fortunately the technology now exists to allow operators, and their designers, to realize these ambitions. This was one of the last fields in which LED lighting, which is flexible, controllable, reactive, durable and energy savings was introduced. The breakthrough came with the development of Philips’ ArenaVision lighting system, which was pioneered at the Ekinox Arena in Bourg en Bresse, France. This is a basketball arena which wanted to be able to create spectacles around the basketball matches, and the new LED lighting

Ekinox arena, Bourg en Bresse, France Client Bourg-en-Bresse Agglomeration Architect Pierre Barillot Match lighting designer Yves Caizergues Lighting programmer Yann Hereng

system was ideal. Lighting technician Yann Herring explained, ‘Straight away you are amazed by the power and beauty of the lighting you get from the LED fixtures. This is really important, even fundamental when you want to present a show. You need to be able to make the hall pitch black and then light it up again immediately after.

Lighting solutions Philips ArenaVision LED, ClearFlood ECO

“Another thing is the fact that the lights are organized LED fixture by LED fixture. We have 50 LED fixtures around the court. Each one is an individual unit and you can vary the intensity and light of each of them. That means you can integrate this lighting system in an event. And you can use this infrastructure in the design of a light show”.

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Chelsea F.C. arena, Stamford Bridge, London, United Kingdom Client Chelsea Football Club Project partners Boon Building Services Ltd, TAP, Webb Yates Engineers Lighting programmer Tom Young, Tim Routledge Lighting Design

Lighting solutions Philips ArenaVision LED

“Another advantage of the ArenaVision lightingis the control panel dedicated to the system. It provides a locked-down lighting framework. So we are guaranteed to have the same lighting quality for all matches”. This means that sports bodies and players can be confident that they will have good and consistent lighting. Another early adopter was the Chelsea football stadium in London, where the ArenaVision system was used in part to meet the new lighting broadcast standards of the English Premier League. LED floodlighting the pitch. Other benefits include the fact that the ground can now put on light shows and use equipment from external suppliers. Tom Young, lighting programmer with Tim Routledge Lighting Design, said: “It’s really easy to integrate an external lighting control into this system. A visiting company can simply turn up and plug their system in. At the switch of a button control is transferred from the in-house system to the visiting system”. This flexibility has been demonstrated at Philips Stadium, the home of football club PSV Eindhoven, which was the first football ground in the Netherlands to have ArenaVision. While there were numerous

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benefits during matches, it was the ability to stage a concert that was most impressive. After the first concert held there, Marco Driessen, lighting designer with Art of Light, said, “We took almost 1000 light fixtures into the stadium, in addition to the 298 floodlights which we managed to use a number of times. We can create mood and atmosphere in a song with our own lights, but we also did a powerful build up with the LED floodlights. The audience is really surprised by the amount of light that suddenly appears in the show. With traditional ArenaVision floodlights we had to wait until the floodlights were full strength until we could use them”. The role of lighting in the wider role of a stadium is demonstrated in the Maracanã stadium in Rio, Brazil which was restored and largely reconstructed in 2010 in preparation for a major football tournament and the 2016 International Summer Games. Specialist company Mingrone Iluminação designed the lighting for the façade and interior. The stadium can be lit in the colors of the two teams that are playing, can flash when a goal is scored or even change color to reflect the atmosphere inside. And this technology can also be used for non-sporting events such as pop concerts.

Maracanã Stadium, Rio de Janeiro, Brazil Client Estádio Jornalista Mário Filho (Maracanã Stadium) Lighting designer Antonio Mingrone, Mingrone Iluminação

Lighting solutions Philips Colour Kinetics ColorReach Powercore gen2, ColorReach Compact Powercore, Vaya Linear MP

Philips Stadion, Eindhoven, The Netherlands Client PSV Eindhoven Concert lighting designer Marco Driessen, The Art of Light

Lighting solutions Philips ArenaVision LED

“The light of dynamic systems with changing colors and dimming” Antonio Mingrone, founder of Mingrone Iluminação, said: “The new design included the preservation of the original facades and two of the four monumental ramps, which received a special light treatment, making this means of access beautiful. Another highlight was the new roof, which has a very interesting design, beautifying the interior view of the stadium, so that our lighting project could not help but exalt it”. The flexibility of the LED system allowed him, he said, “to use three or four projectors on the vertical elements by the ramps, transforming them into a stage for the movement of people”. The use of LEDs was, he said, “fundamental. As the technology at the time made it possible, especially with Philips products, we made use of all that was good in terms of equipment that could provide the light of dynamic systems with changing colors and dimming”.

Antonio Mingrone

Another example of a building that is lit to emphasise its importance is the Allianz Arena, home to FC Bayern Munich in Munich, Germany. The outer inflatable membrane is lit with more than 300,000 LEDs, offering 16 million colors of light through 7.5 million km of light fittings. This is the largest membrane shell in the world and, with hardly any of the diamond-shaped membrane pads the same shape, it was a challenge to light it evenly. It is however a challenge that has been met with a changing light show that is meant to indicate not just colour and fun but the emotion of sport. And sport is all about emotion. The technology that now allows players to play in the best conditions, and TV cameras to show flashbacks in ultra-slow motion, can also be used to convey the excitement of events – to emphasise the reason why everybody is watching, whether in the arena itself or at home.

Website www.philips.com/arenaexperience

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FC Bayern Munich, Allianz Arena, Munich, Germany Client Allianz Arena München Stadion GmbH Architect Herzog & de Meuron

Lighting solutions Philips Colour Kinetics ColorGraze MX4 Powercore Philips Lighting ActiveSite, Lifecycle and Professional Services

Certified Value Added Partner Alexander Weckmer Licht und Mediensysteme GmbH

HIGH TECH CAMPUS, EINDHOVEN, THE NETHERLANDS

Luminous Patterns showroom By Brad Koerner

Get ready to witness light being used in ways youâ&#x20AC;&#x2122;ve never seen before. These highlights from our showroom reveal how Luminous Patterns can enhance spaces in creative, inspiring ways.

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Creating an enchanting welcome in hospitality

The Luminous Patterns showroom inspires guests with a collection of dazzling light effects displayed at the scale of complete architectural surfaces. The showroom helps designers and owners imagine applying Luminous Patterns in applications such as hospitality, retail and office spaces.

We wanted to create a space that was distinctive, a space that artfully uses darkness, sparkle, brilliance and motion to create new spatial experiences. Book your visit now! luminouspatterns@philips.com

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DISCOVER THE WINNERS

CLUE Competition By Isabelle Arnaud

50 COMPETITION

The second CLUE (Community Lighting for the Urban Environment) competition received 222 entries from 51 different countries. Made up of seven international members, the jury awarded two prizes and three honorable mentions to the most creative projects. The theme this year was Lightius Loci – Spirit of Light.

The CLUE competition has set itself the goal of encouraging and challenging young designers such as students at universities and colleges and emerging professionals to develop innovative lighting concepts for interior and exterior spaces, of stimulating the creation of challenging ideas and recognizing the individuals who create those ideas. This second edition of the competition invited participants to think about the spirit of a place (the genius loci) from which light cannot escape. Candidates could choose a place without limitation of scale, location or whether it was indoor or outdoor, and provide a response in line with the local conditions.

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1st prize: DMZ N38 by YeonHo Lee, WooSeok Jang, DongGyun Ha (South Korea)

DMZ N38, the demilitarized zone between North Korea and South Korea, has been a forbidden area for nearly 60 years in which no contact is allowed. Ironically, DMZ bears the scars of war but has avoided indiscriminate development and globalization, so it has become a land of life, forming its own ecological environment. “We focused on the cease-fire line which is an absolute boundary that made DMZ’s own genius loci. By reusing an iron fence used for military purposes and laying an electric installation along the barbed-wire fence, we tried to convey the light’s message. The characteristic of having thick fog in this area maximizes the effect of the light,” explained the winning team. “To conceive that this fence – illuminated – could represent the unification of two countries, is a belief worth holding. In this sense, “lightius loci” becomes “hopeius loci,” the place of hope.” Frederick Oberkircher, jury member

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2nd Prize: Lightening a Modern Odyssey by Maria-Chrysoula Akrivou, Antonis Athanasiou (Greece) At least 800 people have died or vanished in the Aegean Sea since the start of 2015, as more then a million refugees and economic migrants have entered Europe. The part of the Aegean Sea between the coastline of Turkey and the Greek islands has become a place of sacrifices. This new topos presents its unique genius loci and the light becomes a landmark for the lost lives. “Our aim envisions a ‘cross point’ floating construction in key areas where lives are in danger; these interventions are detected and placed in such a way that the immigrants can reach them more easily from several points and find a temporary shelter in the sea. Light becomes a conjunction between earth and haven,” summarised the team. “The use of light as a landmark, like a lighthouse, becomes pragmatic, symbolizing an unprecedented international social crisis.” Marc-André Carignan, jury member

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1 2

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Honorable mentions The jury also awarded honorable mentions to the following: 1 Christopher Calo (USA): “Närvaro” “Närvaro” lets people see, thanks to a pattern/color displayed on the buoys, where the ships are coming from in the port of Long Beach, to help visitors and residents appreciate the diversity of the departure countries of entrants to the port. 2 Irena Milojeska, Simona Tasevska and Hristina Sekuloska (Republic of Macedonia): “Ab Aeterno” The old railway station of Skopje remained standing after the 1936 earthquake and the Ab Aeterno lighting installation establishes a spiritual relationship between two different time periods. 3 Aurore Foray, Fanny Guigon and Giovanni Guillabert (Canada): Luminescent Memorium The Place de la République in Paris is a well-known French symbol and, in a world where violent conflicts have global effects, the Luminescent Memorium installation is the best answer to the darkness.

Congratulations to the winners and thanks to all the participants for their creative and innovative lighting concepts.

CLUE competition 2017 Deadline for project submission January 31, 2017 Website www.cluecompetition.com Sponsored by Philips Lighting University

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StyliD PerfectBeam Endless possibilities to shape light

Inspired by precision optics like camera lenses, StyliD PerfectBeam comes with a zoom mechanism and a number of beam shaping lenses that are easy to adapt therefore itâ&#x20AC;&#x2122;s ideal for long standing pieces of art and ever-changing exhibits alike. And by not emitting harmful UV or IR, it is able to provide exquisite visibility without deteriorating the art. Additionally, thanks to the LED technology it allows for low maintenance and high energy efficiency.

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