Occhio Magazin »Evolution«

evo

- Private Public -

Occhio Magazine

new

Pi첫 The new Occhio spotlight series with the first LED generation that meets our expectations.

pi첫 (ital.) further, more

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The intelligent source.

Occhio Pi첫 is smart source in its purest form: the best performance and quality with the highest energy efficiency.

Experience more. The Smart Source concept is described on page 55.

2 Editorial

Axel Meise

Editorial light is evolution.

Welcome to the Occhio Magazine.

What would light be without evolution? After completing my studies in mechanical engineering in the 1980s, I decided to make a career of my hobby by launching my first low voltage lamp collection; then in the 1990s I became a lighting consultant. A wide range of lamps and lighting systems was available, in the most diverse designs and technologies, but I was not always satisfied with these products.

I asked myself why there was no lighting with the generous consistency that was the aspiration of architects and interior designers? No one installs different kinds of flooring from room to room, nor does anyone use a different type of door knob on each door or a variety of faucets and fixtures in the bathrooms. Yet in private homes and public buildings we normally see an eclectic assortment of lighting systems and lamps.

The reasons for this are obvious: Every room and every situation requires its own specific light, and this accounts for the diversity in the lamps that are installed ...

Though this explanation seemed reasonable, I still could not accept the status quo and continued to strive for an alternative approach. Would it be possible to create a system so universally complete that it would fulfill nearly all the requirements of lighting and interior designers in achieving the lighting effects they ultimately envisioned? With lamps that could be placed anywhere in the room to achieve the expansive consistency –

in terms of aesthetics and technology – which is the dream of every lighting designer, architect and builder – indeed, a vision shared by every user?

Making this dream a reality was my inspiration in 1995 when I completed the sketches for a multifunctional lighting family in which various reflector heads would deliver different lighting effects as desired; these reflector elements could be freely combined with a complete offering of unpretentious fixtures. The result of these efforts is more than I could ever have imagined.

The original Occhio concept, with its head and body design, has evolved into a universal “light tool” that offers unique options for lighting design. Occhio Puro, the first Occhio line, can deliver nine different lighting effects. Occhio Sento enhances these options with its interchangeable inserts and color filters, while Divo embodies the same options, but in the classic look of a glass ball. The portfolio also includes the new Occhio Più spotlight series which elevates the Occhio concept to a new dimension. In this issue of our magazine we would like to introduce you to Occhio Più.

And we are going one step further with our Smart Source concept: In addition to selecting the right lamp and the right lighting effect, you now also have freedom of choice when selecting the light source.

Axel Meise

Axel Meise

Only the intelligent use of the appropriate technology will ensure optimal results in terms of lighting quality and efficiency. And this applies to all environments, whether at home, at work, in professional offices or public buildings. We are dedicated to ensuring optimal lighting quality in all spheres of life.

I believe that light means quality of life. And we do not spend all of our life at home. Therefore, the first issue of our Occhio Magazine focuses on the theme “private/public” to examine the issues involved in striking a balance between our private and public lives, also known as the work-life balance.

I would be very pleased if we can also instill in you just some of our enthusiasm for lighting and the Occhio philosophy, an enthusiasm also shared by many satisfied Occhio users which encourages us to strive for excellence every day.

With this in mind I hope you enjoy this issue and the fascinating world of Occhio.

Sincerely, Axel Meise PS: The Evolution Occhio Magazine will be published semi­ annually. We look forward to your comments and suggestions.

Because what would light be without evolution? redaktion@occhio-magazin.de

During his studies in the early 1980s Axel Meise began to make a profession of his hobby: designing lamps and lighting systems.

In 1987 this self-taught designer launched his first collection of lamps and continued to enhance his portfolio in the years that followed. Then in the 1990s he acquired a lighting business and focused his attention on planning and light design. These experiences were the inspiration in the mid-1990s behind the idea of the universal Occhio lighting system. Together with designer Christoph Kügler he developed the modular product family comprising head and body elements which was launched in 1999.

Since then Occhio has received several design awards year for year, and it has evolved into one of the most successful lighting brands in Europe.

Editorial 3

4 Contents

Contents light is evolution.

Occhio sets accents: The flagship store in Munich shows the complete spectrum of designed light.

Occhio store MUC, Steinstraße 19, 81667 Munich www.occhiostore.de / m uc

Contents 5

The New Publicness

6 - 11

12 - 17

The Private Public Person

Relaxed on the Sofa

18 - 19

20 - 27

What matters to us in the future.

Analysis of a new species.

Future developments for home and office.

Lighting Concept – Studio House

Architecture on Wörthsee

How Occhio shapes inspiring light.

28 - 31 The features of a studio house.

32 - 43

Occhio Più

The essence of the new series.

Binnberg Lighting Concept

44 - 47

Occhio Smart Source in practice.

Farewell, Incandescent Light

48 - 55

The Magician of Light

56 - 57

58 - 62

64 - 67

Occhio store Cologne

68 - 69

63

The secret of James Turrell.

Quality as a Brand Experience The One True Light

70 - 71

Ode to the tungsten filament.

Shortcuts Imprint

How design icons originate.

Lighting design for places of worship.

Where to find the new design attraction.

Why Occhio Più received the red dot design award.

Who is behind this magazine.

Private Public Is the public private?

Is the new privacy public?

8 Private Public

Survey

The New Public In dialogue with designers and decision-makers.

“That’s none of your business!” snapped actor Harrison Ford when the Süddeutsche Zeitung asked him about what sex is like when one grows old. Since the arrival of reality TV and Facebook, public perception has apparently changed. Who is a private person today – and when? And when is this person of “public” interest? How does having two personas affect our life at work, at home and in general? Occhio Magazine posed these questions to seven creative professionals, CEOs and celebrities. You can read their complete responses in the Internet at www.occhio-magazin.de.

In your private life do you strive to maintain the same standards that mark your professional career?

In principle yes, but not compulsively. I will only be credible if I behave in the same manner that my customers know from doing business with me. On the other hand, slight discrepancies and contradictions, as well as improvisation and openness to “unconventional” design , are also important. The interior and furnishings in my home tell a long story which says nothing is perfect. That is what puts zest into our family environment. The constants that shape my environment are careful treatment of space, light, art and beautiful furniture.

Prof. Titus Bernhard, Architect www.titusbernhardarchitekten.com Andrea Karg, Fashion Designer www.allude-cashmere.com

Cheese, Bread and Sausage Salad.

That’s great!

Prof. Titus Bernhard, Architect, 46 How is the public Titus Bernhard different from the private one?

The public person is professional, eloquent and has very clear objectives. The private guy has an almost romantic affinity to nature, likes arts and crafts, and is less dominant and more approachable. For me the best place to relax is in a mountain cabin in Graubünden with cheese, bread and sausage salad. That’s great! Both spheres in my life involve risk-taking and a certain obsession about things that arouse my interest.

Andrea Karg, Fashion Designer, Munich How public must you be to achieve success in your profession?

As a designer I talk publicly about my collection and the processes involved in making my creations, in other words what inspires me and how I reshape and reorganize things to make something entirely new. This process is very personal, yet I gladly share it with the public because dialogue with others is an important part of the creative process.

How much public openness do you tolerate?

I draw a very clear line: Everything related to my work is open to the public. But there will never be a home story about me and my family. My home and my family are my refuge.

Survey

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If you cannot make yourself scarce, you will have a problem in today’s world.

Charles Schumann, Legendary Barman www.schumanns.de

Charles Schumann, Legendary Barman, Munich How public must you be to achieve success?

You know, many people spend a lot of time and energy trying to stay in the public eye. They go to every vernissage and jump in front of every camera. But I do not really want to be so “public”. The most important thing in every business is a sense of presence, a kind of charisma, that reflects your sincerity, credibility and joy in the work you do. If you have that, you do not have to be in the newspaper.

How open are you to the public?

Well, I work as a model and often enjoy being at center stage.

But everything has limits. If you cannot make yourself scarce, you will have a problem in today’s world. I say that because I am in such high demand and everybody comes to me anyway (laughing).

How is the public Charles Schumann different from the private one?

I do not have a private life – I spend my life in the bar. Six days every week, and on the seventh day I am also there for a few hours. There is no alternative. And that has consequences.

Having a bar means having little or no time for friendships, because friendship means being there for others when they need you.

Does the quality and standard of your private life correspond to that of your work life?

Quality is absolutely essential. Good bread is most important to me. At home I lead a rather Spartan life – all I need is a comfortable bed, a table, space for my 50,000 books, a piano and a dressing room for my beloved suits.

What is perfect light in your opinion – in the bar and at home?

Having good light in a restaurant is both easy and difficult to achieve. Either you suspend a light bulb from the ceiling and say: Light is not that important, or you hire someone who really knows how to orchestrate your light. And there are really good lighting designers out there! A long bar is important in my business and its appearance should benefit from the best lighting possible, and that can only be achieved when architects and lighting designers work together. At home I have a reading lamp and a lamp above the piano. I don’t think very much about light. If I want light, I go outdoors.

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Survey

Goso Graf Kageneck, Marketing Consultant, Munich, 56 How open to the public must you be to achieve success?

Promoting one’s own competencies and product on the basis of public image has always been important to being successful.

Rubens, for example, maintained very close social ties with powerful and wealthy people. His personality was rather imposing. He was very “public” and became very rich as a result.

Vermeer on the other hand, a misanthrope and fanatic, did not fare very well at all. And not because he was a less gifted painter. At every open-air market those vendors who not only promote their products with a loud voice, but also with their convincing personality, sell the most.

Does the quality standard of your private environment correspond to your work setting?

The reverse is true – I try to make sure that the quality of my business environment influences my private sphere. Being self-employed means working at home most of the time, so I believe in having an office that makes no compromises when it comes to furniture, materials, fabrics or lighting.

The office is designed for efficiency and contributes to my personal well-being. A beautifully grained table top creates a feeling that is vastly different from that of white Formica; a pleasantly dimmed light is more appealing and comforting than neon hanging from the ceiling.

Henry Hasselbarth, Vice President North & Central Europe, Emirates, Frankfurt, 65 How open to the public must you be to achieve success?

Not at all, actually. The owners of Aldi are an example of what I mean. If you decide in favor of the public realm, your image plays the decisive role. And so you must cultivate your public image to be as positive as possible, just like Nelson Mandela or Richard von Weizsäcker have done.

How open are you to the public?

Being in the travel industry I am known among airline executives and in political circles as well – especially for the fact that I always speak my mind. The most important thing is: Always be yourself – be authentic.

Henry Hasselbarth, Vice President North & Central Europe, Emirates www.emirates.de

Goso Graf Kageneck, Marketing Consultant, Munich

Jelena Mangold, Fashion Designer, Basel, 25 How do you come to terms with giving up some of your once protected privacy in favor of a personal network?

I try to use the Internet very consciously, and that applies to the advantages, such as easy, no-cost networking worldwide, as well as to the disadvantages like the risk of profiling, for example. I do not have any kind of profiles that focus on me as a private person – instead I only keep a blog that communicates the standards and principles that I represent as a dress designer.

In the end every person must decide – for himself or herself – how much privacy to relinquish.

Does the quality and standard of your private environment correspond to that of your professional life?

In both areas it is equally important to me that nothing is communicated that does not have my full personal backing. If I privately deplore the fact that workers are exploited in the manufacture of clothing, then I want to develop viable alternatives and show that I comply with them in the production of my fashions.

In the end every personmust decide how much privacy to relinquish.

Janja Label, Fashion Designer janja.blogsport.de

Survey

Mark Braun, Designer, Berlin, 34 How open are you to the public?

In terms of my career very open: with my own website, print and online publications, attendance at trade shows, in Berlin networks like “create berlin” or “dmy berlin”. I also participate in XING and in networks related to teaching and higher education. Privately I keep a very low profile – I am almost invisible: no Facebook, no StayFriends and no personal details in my CV. How is your public persona different from your private one?

In public I represent my business and the design associated with it. And in private – well, that stays private.

How do you come to terms with giving up some of your once protected privacy in favor of a personal network?

My private network has very little in common with my public networks – if personal friendships arise on the basis of my public networking, I try to keep public and private matters separated.

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Mark Braun, Designer www.markbraun.eu

From the designer perspective I am often much more relaxed in private.

Does the quality and standard of your private environment correspond to that of your professional life?

At the interpersonal level the personal quality is naturally higher, but some of my business relationships are also quite interesting when it comes to honestly, integrity and contact quality. From the designer perspective I am often much more relaxed in private. At trade shows, online or during presentations everything is of course extremely businesslike.

What makes a perfect work environment?

Clear directives, colleagues who stay on top of things, good time management, structure and last but not least – composure. And with regard to operations: Keeping fixed costs low, but not at the expense of good basic equipment in terms of machines and software.

Side table Lift and stool series Ton Mark Braun

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Lead Article

The Private Public Person Is the new publicness private, and the new privacy public?

Samantha Charialis

Samantha Charialis lives – or should we actually say works – as a trend scout in the United States. The 27 year old is shuttling between San Francisco and Cairo, where she is advising an intercultural institute. Despite cell phone and Skype, Charialis loves something very old fashioned – a personal and private conversation.

Do you have a sofa in your office? No? Then it is about time to get one. Occupational health physicians and psychologists recommend taking a midday nap. Nothing is more relaxing than a power nap between two appointments. The typical nine-to-five routine has become an exception in the office world. We work in those places where we are creative, and always in that moment when we get ideas. Office and leisure, friends and colleagues – little things show just how much these two spheres are melding.

The time clock was the first item to disappear from the office. Then the team replaced the family, colleagues met in the morning at the office, went to lunch together, spent the afternoon working in front of the computer and then went out together at the end of the day. At about the same time the coffee bar made its debut. Have you ever seen an executive wing or a normal office that is not equipped with perfect automatic coffee machines providing an endless flow of latte macchiato and espresso?

In the late 1990s the lounge became part of our work and leisure environment. What the automobile became in the United States after its invention, namely a semi-private realm on wheels, yes even an extension of the home, is now the province of uncountable waiting areas and Starbucks Coffee Company clones from Cape Town to Cairo, all recognizable with the following ingredients: subdued light, hushed music from hidden loudspeakers, resilient seating, low end tables and soft carpeting. The lounge forecast: soft to billowy, with hardly any profile or unique distinguishing features. Business and pleasure are no longer contradictory – they are mutually dependent. >

Aff ix your photo here!

› In the f uture, everyone will be world - famous for 15 minutes.‹ (Andy Warhol, 1968)

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Lead Article

Now the final barriers are falling: Our office is becoming more like home – and our home is becoming an extension of our business world. This trend has been confirmed by Dr. Kerstin Cuhls, Coordinator of Futures Research and Foresight at the Fraunhofer Institute for System and Innovation Research (ISI): “Studies show that people simply work better in a pleasant atmosphere. It is gradually becoming socially acceptable to design offices with elements typical of the private home.” In the meantime we already expect more than just functionality from an office, which should reflect the taste and personality of the people who work there. This extends to the materials, surfaces, the right lighting, in short: It is a matter of tangible quality of life. That is the reason why we demand the efficiency we are accustomed to in hotels and conference rooms for the home.

A catalyst for this is ubiquitous communication. We live in networks. Offline is a thing of the past: Checking e-mails on the plane, following the stock market on the iPhone, then some twittering and a quick SMS – today this is just as normal as was having a three-course meal while in flight years ago.

Some 350 million people use Facebook, and that number is on the rise. The new publicness is private, and the private sphere can go public at any time. “Twitter, the microblogging network, blows out just about any kind of content to the public,” was the sardonic message in the weekly German newspaper DIE ZEIT in December 2009. This tells us that screening and selecting information are quality skills that will have an impact on the success or failure of initiatives and business endeavors.

Life planning and living patterns seem to be changing at the speed of light. In the 21st century the communications society presents us with options that no longer require an “either, or” decision – instead we have the choice of “not only, but also.”

Successfully managing a business, starting a family, spending a nice evening with friends while still being available just in case the stock exchange in New York takes off like a rocket – everything is possible.

We live in an age of options and changed perceptions. Dr. Kerstin Cuhls, a researcher in Karlsruhe, Germany, believes that a new kind of publicness and privacy are coming into being. “Success is gradually being equated with the degree of public perception a person or business enjoys.” She goes a step further and mentions a new quality of privacy in the public sphere. “Being in the public eye” would then become normal. This observation is shared by the majority of her research colleagues. In his Future Report 2030, futurologist Horst W. Opaschowski asks the following question: “Will there even be a private sphere in the future?”

His own reply: The private sphere will become public. This fundamental change in our software, namely social coding, will be supported by appropriate changes in hardware.

Lounge office and work bedroom Hybridization and crossover are the trends. Architects and designers will be faced with enormous challenges in shaping our new living environments. The 24-hour human being will demand a very different kind of interior space. “The require-

Lead Article

ments and qualities of the office will shift from the workplace to the home, and vice versa,” says one leading psychologist, who continues: Those who are accustomed to having the perfect hi-fi sound in their car will settle for nothing less than that in the home, and those who enjoy comfortable seating when behind the wheel will expect the same in the office; and those who have experienced how good lighting can improve productivity in the workplace will never again think that light planning or design is a superfluous luxury. Boundaries are a thing of the past. Lounge offices and work bedrooms are the result of profound change that is dissolving traditional borders and limits while providing new space for creative thought.

Soon no one will be willing to make compromises because we will have transferred the standards of the workplace to the home office, and the qualities of the private realm will influence the office environment, to an extent that is even more personal, more sophisticated and more enjoyable than ever before. It is a matter of atmosphere, and that is the very first priority of architects, interior decorators and designers. They should strive to achieve balanced combinations of light and space, work and leisure, relaxation and conversation, thus creating a setting for intensified living experiences and efficient working conditions.

The new lifestyle has very few prescribed rules and hardly any recipes for success, but instead focuses on taste and personal commitment. Philosopher Norbert Bolz of Berlin said in 2001: “Past generations could find orientation for their lives much

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The communications society no longer requires an “either, or” – instead it offers a “not only, but also”.

Literature Burckhardt, Lucius: Design: Architecture, Design, Technology, Ecology. 1987. // Canton, James: The Extreme Future: The Top Trends That Will Reshape the World in the Next 20 Years. 2006. // Fuller, Buckminster R.: Operating Manual for Spaceship Earth. 1969. // Gibson, Rowan: Revolutions@work. Steelcase. 1999. // Naisbitt, John: Mind Set!: Reset Your Thinking and See the Future. 2007. // Horst W. Opaschowski: Deutschland 2030. Wie wir in Zukunft leben werden. 2008. // Micic, Pero: Das ZukunftsRadar. Die wichtigsten Trends, Technologien und Themen für die Zukunft. 2006.

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Lead Article

Life and work cannot be separated, they form a whole that we need to come to terms with.

Links www.fazit-forschung.de (DELPHI Studies) Delphi Study 1998 (Delphi’98-Umfrage. Studie zur globalen Entwicklung von Wissenschaft und Technik). http://www.isi.fhg.de/publ/downloads/isi98b07/delphi98-daten.pdf

Lead Article

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easier than we can. Today we do not have any prescribed answers anymore. Therefore it is important to learn how to ask questions and train ourselves in finding answers.” Bolz says we are redefining ourselves for “uncertain opportunities”. Never before did we have more options, better instruments and more good design to help us. Public is private, and no one worries any more about the fact that the boundaries are dissolving.

And this is where the individual must take responsibility for his “living world”. Each of us would like to be something special and to talk about that – among friends or when making a sales pitch – it does not matter where.

Pacemaker of change There was a time when Dad came home from work, donned his comfortable sweater and warm slippers, then reached for the TV guide lying on the end table. That was long, long ago.

The public and the private, business and family – today everything is in flux, like swirling snowflakes.

Ever wonder how today’s trendsetters, the shakers and movers, spend their lives? Take Peter Martin, for example, the creative mind behind the Martin et Karczinski agency in Munich.

Some people would claim that the entrepreneur and father of three children never sleeps and is busy 24 hours a day – his response: “Work is part of life and has always been of central importance.” Peter Martin, 39, continues: “We spend up to 70 percent of our waking lives at work. Life and work cannot be separated, they form a whole that we need to come to terms with.” The designer breaks through the old barriers and concepts wherever and whenever possible. A meal can be the ideal time for a good conversation, the workplace should be a fun place, and a studio next to one’s own home is a hybrid space where public, private, business and family activities can take place in various combinations (see the following article).

Why is all that necessary? Because Peter Martin has a passion for unique solutions that mature during check-in or mellow during an evening with fine wine and good friends. That entails accepting new concepts and slipping into new roles, looking at things from other perspectives, predominantly those of his clients: “I immerse myself in the brand environment”, says Peter Martin, “I live the brand, I become one with it. I juggle images, messages and spaces. And then, suddenly, the inspiration is there.” The pace, time and place of change are mutually dependent.

We live in probably the most exciting era since aviator Charles Lindberg crossed the Atlantic. Whereas the 19th and early 20th centuries were characterized by hardware and clearly defined limits, the new millennium promises networking and the dissolution of boundaries: Digital fireplaces, lounge and laptop or the live-in kitchen with Internet are the forerunners of a fundamental rethinking of our standards. And these standards will not decline – in fact, they will be higher. What was typical in the office – efficiency and communication – is subtly merging with our daily lifestyle, whereas the office is becoming more homey and comfortable. All of us will benefit from this.

Therefore, we must now take advantage of these new opportunities.

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Interview

Relaxed on the Sofa The future evolution of home and office.

Answers and visions from the architects Christoph Kitterle and Gerhard Landau.

gl: The classic study or office doesn’t exist anymore – now we have spacious living rooms, dining rooms and lounge areas equipped with WLAN. These rooms have the atmosphere of a loft. The boundaries between bath and bedroom, or work area and living room, are fluent. And that means smaller areas appear to be much larger in size. You just stretch out and relax on the sofa with your notebook. We now enjoy a lot more freedom.

Gerhard Landau, 44, grad. Engineer, Architect and Partner, Landau and Kindelbacher.

Christoph Kitterle, 49, grad. Engineer, Architect and managing Partner congena.

What are the current trends you are noticing in offices and luxury homes?

Christoph Kitterle (ck): Office work has become more varied, more diverse. Employees need to be able to communicate, to do research or simply to have a cup of coffee. Dialogue with other people is steadily replacing traditional office processing tasks.

Therefore, it pays for employers to invest in atmosphere and ambience. Light plays an important role in bringing different areas to life – today people work in the formal conference room as well as at the coffee bar.

Are you saying that atmosphere is important? gl: We live and work in comfortable areas, working in the living room feels much better than sitting in a home office with a window facing north. Even in the office the objective should be to make people feel good. There are no more supervisors who control the espresso machine and herd people back to their desks as quickly as possible. For one customer we created an agora and a canteen serving free meals. The employees there are more motivated and seldom miss work due to illness – because they do not have to work in a cubicle near a dark aisle and a water cooler. Ambience pays off.

Gerhard Landau (gl): First-class living space in cities is in very high demand. And the standards are on the rise, too. For many freelancers, working at home means that a computer flat screen needs to be in the kitchen to display the current stock prices.

These people work online and in networks.

Are client demands shifting from the office to the private sphere – and vice versa? ck: Only to a certain extent. The private sphere is very individual in nature, so it is difficult to make any generalizations about this living space. Offices, on the other hand, are becoming more upscale, for example we design espresso bars instead of hot water taps. This results in space where people can meet in a high-quality interior environment. The appreciation a company expresses toward its employees plays a key role. More and more areas are being upgraded. When employees come together the don’t just chat, they exchange ideas and generate more value for the company. We increasingly offer more spaces where this kind of exchange can be supported and even promoted.

ck: I can confirm that – the days when everybody wanted to have their own desk are just about over; today it is more important to be flexible and to be able to work whenever and wherever you want. Environments that were formerly separated are now merging together.

gl: The image of the office is changing because occupations are changing. There is a growing need for more discussion and communication that requires more meeting zones and team zones for employees, who no longer have a fixed or permanent workplace. This leads to the development of office landscapes.

Interview

Employers should invest in ambience and atmosphere.

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Loft in Munich, Landau + Kindelbacher (photo, Christian Hacker)

ck: Some of these areas look like large playgrounds. Whether people quickly accept business gardens and similar developments, and whether they enjoy them, remains to be seen. We will carefully monitor these developments.

not to have any lighting at all, whereas an older colleague may need 1000 lux – almost like the lights in an operating room – just to read the small print on a note. Individually controlled light is a decisive characteristic.

Your plans are aimed at flexible, highly motivated 24-hour individuals ... gl: That is exactly what is demanded from people having a certain income and educational level: high flexibility, travel ...

gl: Many workplace regulations are counterproductive in this regard. They prescribe such high lux levels that you almost want to wear sunglasses. And then there is the problem of energy efficiency. We are working very hard on ways to maintain pleasant light tones and atmosphere. Both at home and in the office.

ck: ... availability. cl: I am available 20 hours, seven days a week. Only when I am on vacation do I switch off my cell phone for 14 days. ck: No one can hire a highly qualified employee and then demand that he follow a strict “nine to five” work schedule. People who are free to decide when and where they work are more motivated and more efficient. New kinds of freedom arise with the goal of creating “openness in mind and space.” This openness can be seen in new office concepts with variable rooms and spaces suffused with light. Light, especially daylight, is “nourishment.” Daylight must be allowed to pervade the room from all sources, and it can be supplemented with high-quality artificial light specifically as needed.

People who feel comfortable also work efficiently. How would you describe lighting design based on these principles? ck: First you need to know what kind of mood is desired in specific places. Downlights create an atmosphere that is much different than that created by warmer, shaded light. Another important aspect is knowing how to design a workplace for the individual needs of the employee – the light needs to be suitable for the particular task. A young IT employee may prefer

In conclusion: What can we expect in ten years, what will workplaces and living spaces look like? gl: The recent trend with a focus on visible technology, nearly endless choices and the joys of having 3,000 light switches will ebb in favor of more convenience and efficient operation. Individual control will still be important, but the technology itself will remain in the background ... ck: Most people are users and not technology freaks. gl: I also see this trend in the living area. Refrigerators that automatically scan products are ridiculous. No one wants to be patronized. Technology should serve me and not be domineering. ck: It is possible that the office as home and the representative workplace no longer play a decisive role. We ourselves are developing more and more into free networks that join together from time to time in projects that can connect life and work just about anywhere imaginable.

case study Studio house – light for all living spaces.

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Living, Pi첫 alto C

Case Study

Living, Sento lettura C

Case Study

DS kitchen, Pi첫 alto C, LED / kitchentable, Divo sopeso H, HV

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DS bedroom Divo stilo Fn / DS bath, Pi첫 piano doppio C, Divo verticale Fw (mirror)

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Case Study

Downstairs bedroom, Pi첫 piano C / Ceiling, Divo stilo Fn / Floor lamp

Case Study

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Light Concept Studio Lighting Design Occhio store Munich.

GF

Ground floor The Più alto mounted spotlights are placed randomly to provide lighting that is not dependent on room usage. The brightly colored materials have a high degree of reflection and thus ensure sufficient basic brightness. The distinctive light beams created by Occhio lenses accentuate the plain wall surfaces. The warm light color of the dimmable halogen light sources create a pleasant atmosphere.

Countertops and reading areas can also be illuminated with movable reading and table lamps as desired.

Downstairs bedroom Più piano recessed spotlights with lenses are positioned near plain wall areas where the characteristic light effects can be seen to best advantage.

The halogen light sources contribute to the accentuation of the contours.

Basic room brightness is achieved by reflecting the light off the wall surfaces. Thanks to rimless and recessed mounting, the Più head can virtually be swiveled directly from the ceiling. Occhio Divo suspended and floor models function as reading lamps next to the bed.

5x Più piano C NV-Halogen 60W, dimmable, rimless 1x Divo stilo H Stehleuchte NV-Halogen 60W, dimmable 1x Divo sospeso Pendelleuchte H NV-Halogen, 60W, dimmable (not pictured)

7x Più alto C HV-Halogen 60W, dimmable 1x Sento lettura C NV-Halogen 60W, dimmable 2x Sento tavolo C NV-Halogen 60W, dimmable

Downstairs dining area The mounted Più alto LED spotlights with 40° lenses illuminate the countertop area intensively and evenly. At the same time the swivel feature of the spotlights can be used to create various light effects. The high-color LED provides a pleasant light color in combination with other light effects in the dining area. A Divo suspended lamp impressively illuminates the dining table with a downward light beam.

4x Più alto S40 LED 13W high color 1x Divo sospeso suspended lamp

Downstairs bath A Più piano dual spotlight with lenses creates the impression of more space by illuminating the wall surfaces on both sides of the room. The Divo verticale on the mirror delivers brilliant frontal light, similar to a theater mirror.

1 x Più piano doppio C NV-Halogen 60W, dimmable 1 x Divo verticale Fw NV-Halogen 60W, dimmable

DS

75 Illuminance [lx]

100

150

200

300

28 Private Public

Architecture

Architecture Studio on Wörthsee Muck Petzet.

The Architect

Muck Petzet, 45, maintains an office in an old industrial building near the Munich train station. And that location perfectly matches what he does for a living. Petzet transforms things. He enhances environments, rejuvenating the city with gradual doses of new and vibrant vitality. He believes that old buildings should be protected from demolition – because, with the right planning, they are of immense architectural value. They have potential and resources.

“My goal is to achieve unity by combining and blending the old with the new”, says Petzet. He describes his approach in graphic terms and vivid metaphors of his own creation, for example: “In the inlay the new elements nestle into the form of the old, the new – like a parasite – clings to its host, exploiting the existing infrastructure while defending its independence, only to slowly meld with the legacy of the environment through gradual assimilation.”

The portfolio of the Munich architectural office ranges from urban planning to store fixture design, and in recent years its work has achieved recognition through numerous awards and distinctions: from the German and European Urban Planning Award to the German Building Owners Award for “Modernization, High Quality – Reasonable Costs” and the distinction “Best Architects 09” for the Lausitztower in Hoyerswerda.

A wooded hillside above the Wörthsee. Adjacent to a heritage-protected villa, restored to its original splendor from 1929, stands a new summer house. While the prestigious main building catches the eye even from a great distance, the studio home is modest by comparison. Its black-glazed spruce wood facade indicates that this is an ephemeral structure, in the tradition and dimensions of the auxiliary building that once occupied this site.

The theme of this setting is obviously the intensive dialogue between nature and architecture. The massive basement of the predecessor building, firmly anchored in the steep slope, was adopted as the foundation for the new studio structure.

The efficiency kitchen, bath and guest room are located here.

You can feel the slope, you live and cook in the embrace of the slope. Even the stairs to the ground floor follow the slope of the hillside.

A spacious studio area awaits you upstairs. The incline of the roof also corresponds to that of the slope, the interior walls are slanted with oblique angles. Huge windows make a direct experience of the landscape possible. The view sweeps down to the lake and up to the forested hill. On the “magnificent side”, facing the lake, the room is low-ceilinged, the inclined roof almost seems to be sliding in the direction of the lake, located some 200 meters below the house. On the opposite side, however, a three and a half meter panorama window faces the hillside for a breathtaking view of the huge beech trees. The wood-paneled studio, with larch window frames, forms a synthesis with the firewood stacked in front of the house and the trees in the forest.

The house becomes an instrument of perception, it does not open toward the lake, as one would expect, but rather toward

the forest for a concentrative atmosphere with the tranquility of nature. Thematic opposition permeates the entire house – lake and forest, high and low windows, concentrated view of the landscape and sweeping panorama of the forest. Two different spheres overlap and penetrate each other. A fluent, energized space emerges.

Due to the recessed entrance and the separate stairway with fireplace, there is a constriction in the room, traverse to the visual forest-lake axis, which divides the space into two areas: a work space facing the forest, and a more intimate relaxation and conversation area with a view of the lake. The windows can be opened completely toward the inside to transform the room into an open loggia in the summer.

The dark exterior of the house communicates spatially and materially with its outdoor surroundings. In the shade of the tall trees the studio house is protected from curious and prying eyes.

Muck Petzet Architekten Landwehrstraße 37 80336 Munich Tel. +49 89 59 99 49 20 Fax +49 89 59 99 49 29 www.mp-a.de sekretariat@mp-a.de

Architecture

Private Public 29

Peter Martin, do you make a difference between private life and life at the office?

I follow a philosophy that does not differentiate between private and professional life. Because feelings are inseparable.

Our life is perceptible feeling in the continuum of space and time. Dissociation only occurs in the mind, whereas life is fluent, associative and harmonizing. I am always Peter Martin, designer, even in the middle of the night.

The Builder

Peter Martin, born 1970 in Lahr, Germany, is the designer and branding specialist and, together with his partner Daniel Karczinski, managing director of the award-winning Martin et Karczinski agency in Munich. He resides in an historic lakeside villa with his wife Ancilla and his children Aurica, Paul and Julius. The brand strategist, lecturer and author has noble ideals and is seldom willing to sacrifice them.

To support people’s visions, I need to know their motives and find out what drives their aspirations.

What is your aspiration as a designer?

I want to make the world a little more positive by helping to change and improve something.

Improvement through design?

Design is one aspect. In my opinion, design and the visual perception of a brand can only be successful over the long term if the attitude behind the brand is based on true ideals.

I try to make my clients conscious of this.

When developing branding concepts, you need to thoroughly know and understand your clients. How do you do this – and where?

Brand has a lot to do with character. I cannot conduct a corporate identity process without an in-depth perception of the people involved. Quite often I spend several days with business owners and executives. Sometimes it is important for a client to meet me with my family. To support people’s visions, I need to know their motives and find out what drives their aspirations. Consulting is only possible on the basis of trust.

The new studio house, comprising all manner of fluent transitions, serves as the interface between your private and public realms. What have you created with this structure?

The studio house reflects part of my philosophy. In my life privacy means being my true self, genuine, unfiltered and unreflecting – and this is only possible in a protected space.

When people visit me they want to talk, and I prefer holding these conversations in a private environment. This protected area must be isolated from my daily routine and from my family. I am at home and confer with my partners in a private atmosphere. That is the concept behind having the studio next to my residence.

A traditional villa and a modern structure? Can you explain this idea somewhat further?

These buildings span almost 100 years of architectural history.

Here a precursor of the New Objectivity movement, a heritage-protected building restored with great care, and adjacent to it the contemporary studio house. At first I couldn’t imagine restoring the villa and living in an “historical” building without contemporary accents. However, we were able to strike a balance between traditional and modern, creating a space for a new kind of experience.

Martin et Karczinski Nymphenburger Straße 125 80636 Munich Tel. +0049 (0)89 7464690 www.martinetkarczinski.de

30 Private Public

Architecture

Architecture

Private Public 31

32 Occhio Più

The new dimension

Occhio Più The new dimension.

Why does Occhio actually need recessed and surface mounted spotlights? più (ital.) more, further ...

Occhio means perfect light for all areas of life. Really for all areas of life? Our motto ‘light is evolution’ means that we and our product range continue to develop further on the basis of the ‘Occhio DNA’, to shape as many areas of life optimally with high demands of light quality.

To do so we need as complete a range of products as possible, one which offers solutions for all typical applications of lighting design. Recessed and surface mounted spotlights are part of the standard repertoire along with room lighting, for private and business environments. But Occhio and standard?

For our new Occhio Più spotlight series we have started again from scratch, namely with added value for the user. Almost everyone would like to take advantage of the diverse options of professional spotlights, but preferably without any design compromises. It is not always possible to adapt or conceive a building specially for the installation of professional spotlights.

And the idea of ‘joy of use’ is not generally associated with recessed and surface mounted spotlights.

Occhio Più is different, just typically Occhio.

Modularity, not as an end in itself but as added value for the user, who receives maximum adjustment and individualization options.

Multifunctionality as an unquestionable basis for as comprehensive a range of uses as possible.

Design quality asthe symbiosis of reduced design, highest functionality and production quality. Not to forget the many well-considered solutions for details like the joint-free suspension of the recessed piano spotlight.

Lighting quality in the sense of the best lighting effects and the correct lighting source for each situation thanks to our Smart Source concept. And the first LED that meets our technical demands and is also replaceable.

And as Più is quite clearly a full member of the Occhio family, lighting concepts which are consistent in terms of design and lighting technology can be realized ‘from a single source’ as never before.

Pi첫

34 Occhio Più

Concept

Concept Più System

Occhio Più opens up new dimensions for Occhio. The unique modular concept and the wide range of application options of the new multifunctional spotlight series for private and business environments are most impressive.

In terms of lighting technology and creativity Più is oriented to the successful Occhio Sento line and shares its optical elements like lenses, color filters and reflectors. The Più lighting system includes recessed and surface mounted spotlights and track spotlights. A central element of the Più piano recessed versions is its ingenious joint-free suspension.

The Più piano recessed spotlights are integrated in the architecture as flush-mounted or embedded versions without losing their distinct character.

The Più alto surface-mounted versions available with integrated or external ballasts have a sophisticated pivoting and rotation mechanism, which enables maximum flexibility.

The integrated solution of Più alto 2 with its ‘one box’ design is particularly fascinating and distinctive.

Concept

^

^

Più piano in

Più piano

HV / NV / CDM / LED

HV / NV / CDM / LED

Occhio Più 35

^

^

^

^

Più alto

Più alto 2

Più alto track

Più alto track 2

HV / NV / CDM / LED

NV / CDM / LED

HV

NV / CDM / LED

36 Occhio Più

Design

Design Choose your St yle

Occhio Più is produced from high quality materials like aluminium, brass and steel. High quality optical components which ensure anexceptional quality experience are used for the lighting.

The modular structure of Occhio Più offers a wide range of individualization options. In the Più alto surface mounted spotlights chrome or chrome matt add a touch of elegance to the basic components (body), in addition the spotlight heads are available in high gloss white or black finish (bianco / nero).

The heads and covers of Più piano recessed spotlights are also available in chrome or chrome matt and high glosswhite or black finish. The inner surface of the ceiling tubes is in white or black soft touch coating.

So Occhio Più can be optimally adapted to the predominating colors and surfaces of the architecture and interior design, and at the same time underline these thanks to its high demands of quality and design.

^ versions piano in, piano, alto, alto 2

^ surface head matt chrome, chrome, bianco, nero

Design

^ tube matt white, matt black

^ cover matt chrome, chrome, bianco, nero

Occhio Pi첫 37

38 Occhio Più

Lighting Effects

Lighting Effects Choose your Light ^ Più B satinised glass

Occhio Più recessed and surface mounted spotlights offer maximum light quality and at the same time the greatest possible flexibility.

The optical lens (version C) with 80° light emission (LED S40 with a second lens also 40°) is absolutely glare-free and sets clearly contoured accents. Additional interchangeable dichroic color filters can be used to create impressive color effects or satinized glass for soft transitions.

Spot reflectors in 10°, 20° and 40° (S10 / S20 / S40), and satinised glass for diffuse lighting (B), offer further options for lighting design. The light components can be easily replaced at any time thanks to a simple mechanism.

^ Più S10 reflector 10°

^ Più S20 reflector 20°

^ Più S40 reflector 40°

Lighting Effects

Occhio Pi첫 39

^ Pi첫 C lens

^ filter yellow

filter red

filter blue

filter magenta

^

^ Pi첫 C lens + satinised glass

filter green

40 Occhio Più

Functionality

functionalit y Mounting

144 mm 95 mm 80 mm

95 mm

10 – 50 mm

80 mm

166 mm

132,5 mm

95 mm 10 – 22 mm

80 mm

^

^

^

Recessed mounting with cover Diameter tube 132 mm Diameter head 124 mm Diameter cover outer 162 mm Diameter cover inner 130 mm

Recessed mounting flush mounted for panel (rear mounting) Diameter tube 132 mm Diameter head 124 mm

Flush-mounted fitted mounting Diameter tube 132 mm Diameter head 124 mm

Più piano A number of versions of Più piano are available for different recessing solutions. The magnetically fixed cover rings with varnished or galvanized surfaces are characteristic of these recessed ceiling versions.

The frameless models are available as fitted versions or for assembly on panels accessible from the rear.

Thanks to the unique spherical cap principle the spotlight heads are freely orientable and pivotable up to an angle of 30° (Più piano 30°, Più piano in 20°).

10 – 35 mm

Functionality

Occhio Più 41

68 mm 61 mm

^

^

^

Surface mounting Diameter head 124 mm Diameter body 83 mm Height (without lens) 54 mm pivotable 45°, rotatable 360°

Mounting on hollow ceilings

Surface mounting Diameter head 124 mm Diameter body 83 mm Height (without lens) 114 mm pivotable 45°, rotatable 360° EB integrated

Più alto spotlights are rotatable 360° thanks to a special attachment technique and pivotable 45° thanks to a hidden joint. However they can also be fixed in a vertical position for downlight use only.

The flat alto versions in mains voltage halogen (MV) can be used directly on a solid ceiling, as can the high alto 2 versions with low voltage, CDM or LED technology, in which the electronic ballasts are integrated.

42 Occhio Pi첫

Design

Design Choose your Light Source

^

^

G9 mains voltage halogen eco 48 Watt, 60 Watt

Gy 6.35 low voltage halogen eco 50 Watt, 60 Watt

^

^

GU 6.5 metal halide halogen 20 Watt, 35 Watt

LED High performance LED High Color / High Flux, replaceable, 13 Watt

Occhio Pi첫 is the highly consistent implementation of the Occhio Smart Source philosophy: It offers the optimal light source for almost any application.

bright and energy-efficient Pi첫 LED has excellent color rendering properties and the Sento lens ensures outstandingly consistent and contoured lighting.

In addition to the new low voltage and mains voltage halogen light sources in eco versions (energy efficiency class B and C) and CDM-TF discharge lamps (class A) Pi첫 introduces the latest high performance LED technology, which meets the high demands of Occhio of light quality. The exceptionally

More about Smart Source on page 55

Design

The two alternative LED versions available offer a long service life, maximum energy efficiency and close to halogen color temperature. The best possible color rendering properties are priority for the high-color LED. The high flux version combines high light performance with good color rendering. The high output LED chip itself is replaceable thanks to an intelligent system. So it will always be possible to keep Pi첫 LED spotlights up-to-date.

Occhio Pi첫 43

case study Appropriate lighting solutions for every specific situation.

46 Private Public

Case Study

Binnberg Design Occhio Smart Source in practice.

Client: Binnberg Design Lighting Design: Occhio store MUC

The hallmark of Binnberg Design in the Haidhausen district of Munich is the harmonious and consistent blend of architecture and interior design that reflects the unique personalities of clients who appreciate meticulous planning. Therefore, it came as no surprise that Uwe Binnberg himself wanted his offices to exemplify this special touch as well. And from his many years of professional experience he knows how important good lighting is for buildings and interior spaces, both in terms of appeal and functionality. His objective was to create a special light atmosphere and sophisticated ambience for his employees and clients based on a well-conceived lighting concept in tune with the interior architecture of his offices.

To achieve this goal Uwe Binnberg turned to the Occhio planning team, which developed a lighting concept for the design office that offers the appropriate lighting solution for every specific situation. The office space was subdivided into its individual areas and analyzed to determine which type of light was required in each of the segments. The challenge was to develop a functional and attractive lighting concept ensuring aesthetic continuity throughout the entire office.

The Occhio lighting systems were the perfect choice for this project due to their multifunctionality, consistent form language and high level of individualization. The new Occhio Più spotlight series was chosen for the basic and accentuated lighting; the lamps can be installed as recessed or surface-mounted units, and their various lenses and filters ensure that the desired effects are optimally achieved. In addition, thanks to the Occhio Smart Source concept, the appropriate light source could be selected for each segment of the office on the basis of light intensity, light color, durability and efficiency. The Occhio Più line, with its wide range of product versions, surface finishes and color combinations, allows designers to find just the precise lighting and effect to enhance any interior environment.

Occhio Divo lamps, with their brilliant and distinctive glass balls, serve as decorative counterpoints and are also important

aesthetic and functional components of the lighting concept.

The workplaces and conference tables are illuminated with Occhio Divo suspended lamps that deliver pleasant, glare-free light from halogen sources, while floor lamps contribute to the comfortable atmosphere of the lounge area.

Binnberg Design represents a new office concept with variable rooms suffused with light – a concept in which architecture, interior design and lighting design are melded into an intelligent and most appealing symbiosis. The lighting concept developed

by Axelmeiselicht for the Binnberg project impressively demonstrates the unique options that the Occhio system offers to creative lighting designers and architects.

1 The frameless recessed Più piano spotlights with S20 reflector and highcontrast CDM light source create a subtle luster even on matt black cabinet surfaces.

2 The Divo sospeso suspended lamps with low voltage halogen technology illuminate workplaces and conference tables with a special decorative touch.

3 The conference lounge is accented with Più alto and high-color LED technology combined with optical lenses. An almost invisible Più piano recessed ceiling spotlight illuminates the table block evenly.

Più piano with CDM technology brings black shelves to life (1).

Case Study

Divo sospeso with halogen technology allows for luminosity and warmth (2).

THREE TECHNOLOGIES – ONE UNIQUE LIGHTING ATMOSPHERE

The Più alto LED spotlights set the stage for the conference lounge (3).

Private Public 47

48 Magazine

Farewell, Incandescent Light

Farewell, Incandescent Light Ode to the tungsten filament.

By Oliver Herwig

Coney Island smells of seaweed and Nathan’s famous hot dogs. As it always has done. But the air of excitement around Stillwell Avenue has given way to melancholy. The Terminal Hotel is boarded up, the sand covered in oil and debris that has washed ashore. Police regularly patrol Reigelmann Boardwalk along the sea front.

Imagine, not so long ago Coney Island shone like a meteor. In the mid 1920s, some 1.3 million incandescent lamps illuminated fairground rides, booths and stands, transforming the beach into a magic kingdom of light, a realm outside our own world.

Up until the mid 20th century and beyond, Coney Island was the playground for New Yorkers who could not afford beach houses on the Long Island coast. Here by the Atlantic they found a world of sensations and illusions, a constantly changing mix of exotic places and attractions.

Lighthouses flanked the entrance to Dreamland, a schooner with billowing sails and pennants on its rigging cut through the waves. Under its keel frothed a curtain of water, through which visitors slipped into a magically bright underwater world.

Submerge and disappear was their motto. Millions of spectators were held spellbound by the cascades of light that poured out over the beach at night like liquid gold. >

Farewell, Incandescent Light

Magazine 49

50 Magazine

Farewell, Incandescent Light

The human body needs both light and dark phases. It produces melatonin at night, which helps us fall asleep. In the morning the rising sun is a stimulant that makes our bodies produce more serotonin, which keeps us wide awake and ready for action.

Farewell, Incandescent Light

Magazine 51

The incandescent light bulb, which was patented by Thomas Alva Edison in 1841 but not presented to the public until 1879, heralded a new era. Modernity had invented a radiating torch that soon advanced to become the symbol for strokes of genius. It was as if Phoenix and Prometheus, with beaming elves, had handed the heavenly flame over to mankind. Everyone who caught a glimpse of the inspired posters pasted up by leading vendors felt the vital importance of this invention. Its brilliance was out of this world, taking people back to mythical prehistory and, at the same time, indicative of things to come, of a modern, truly enlightened society.

Torch of Modernity Edison had barely presented his incandescent lamp when electric street lights began to appear all over. Berlin’s Kaisergalerie was lavishly illuminated but, up until 1910, only three and a half percent of all Berlin homes were connected to the electricity grid. Working-class households could no more afford carbon filament lamps than they could the gas lamps that preceded them.

Electric light was a public delectation. No amusement park or Ferris wheel without incandescent lamps. Monuments were built to the new light source, such as the Palais de l’Electricité at the World Exhibition in Paris in 1900.

Correspondent Emil Peschkau likened the colorful fountains and light effects at the International Electricity Exhibition in Frankfurt in 1891 to “glowing lava”. Peschkau declares to his astonished readers: “A slightly magnetic iron body rotating over wire coils suffices to produce that typical state of material agitation we call electricity [...] rather like the oscillation of particles when stones are thrown into water.” Peschkau later refers to artificial light as “silver light”.

In 1909 Peter Behrens’ rational designs for AEG’s arc lamps marked the breakthrough to a new design era. Inner technical workings require a functional body. And while mass production made the prices of light bulbs and lamps affordable for all budgets, the electricity companies were kept busy installing new power plants and power lines. However, it was not until the 1920s that electrical lighting finally took private households by storm.

Big city life was suddenly transformed into light, movement, energy. In 1925 John Dos Passos describes the seething New York streets in Manhattan Transfer as a sea of light.

“Bars yawned bright [...] at the corners of rainseething streets”, the author writes, “yellow light off mirrors and brass rails and gilt frames” attracts passers-by.

What actually lies behind the pear-shaped glass bulb that has survived almost 150 years in numerous different shapes and

52 Magazine

Farewell, Incandescent Light

sides. Virtually all the big dailies have commented on the end of a lighting culture, with Spiegel magazine writing about “The Lamp Designers’ Sorrow”, and the chairman of the Central Association of European Design Culture (ZVEDK), Michael Gärtner, even saw an esthetic catastrophe approaching. “A European cultural asset is in danger”, Gärtner feared, whose ZVEDK association represents two dozen lamp manufacturers and their suppliers.

Stunned: EU Ban on Atmosphere

The core issue in this case is the discrepancy between ecology and experience. This poses an important question: To what extent may the state intervene in personal lifestyles? And how sustainable are regulations that have no real impact on individual behavior?

Anyone who considers the hundreds of thousands of dimmers currently installed in German living rooms realizes immediately that this is about more than just ecology or consistent guidelines. Energy-saving lamps can only be dimmed with major technical effort. “And then they only get darker, and not warmer”, explains Christoph Kügler, physicist and Occhio light expert.

sizes? Edison’s stroke of genius made smart use of the resistance of a tungsten or tungsten alloy filament, through which electricity passed until the wires glowed and emitted the warm light that fascinated all who saw it. The wire converted electrical current into radiation and heat. Especially heat. An incandescent lamp emits around five percent of its electrical energy as visible light, the rest as heat. This is not merely perceived by people who touch a lamp, it is generally pleasing to the human eye, since a filament produces almost the entire spectrum of sunlight. And this makes the incandescent lamp so interesting, not the fact that we screw a small ‘heating element’ into the socket each time we change a light bulb.

The incandescent light bulb still ranks as a classic of industrial design. Nonetheless, its days could soon be numbered. Amazing to think that the basic principle has not altered since Edison’s day – some of its components have simply been refined.

Nowadays, it is usually a double filament that glows in the gasfilled bulb, greatly increasing luminous efficiency. Or, in other words, a modern light shines ten times brighter than Edison’s original model. This does not satisfy the present EU Commissar. Light planners, museum experts and designers are all stunned by the latest energy-saving campaign from Brussels.

As of September 1, there is a ban on selling matt light bulbs and clear 100-watt incandescent lamps. Brussels is gradually banning the good old light bulb from the market.

No one is impervious to the light bulb’s imminent doom.

Households are stocking up with lamps as if they were gold nuggets. The sale of incandescent bulbs rose by an astronomic 180 percent on last year’s sales. DIY chains report panic buying. Fervent admirers of incandescence can be found on all

A sense of well-being or atmosphere is naturally a highly subjective, even fragile concept. This is so, despite the fact that the color temperature of a light source can be objectively measured. Incandescent lamps lie between 2200 and 2600 Kelvin.

Their low light yield corresponds to a light that is experienced as warm. By contrast, a compact fluorescent lamp lies between 2700 and 4000 Kelvin, but is felt to be colder and whiter. Still, supposed objectivity is no help at all, since we experience light quality first and foremost “subjectively”, Kügler says. The key factor is the “spectrum of light that is emitted. And in the case of fluorescent lamps, this is absolutely inhomogeneous, in contrast to the continual spectrum of incandescent and halogen lamps”.

Standards are not enough. This issue affects millions of eat-in kitchens and living rooms, which cannot be brought into line with work safety regulations and nominal luminance measured in lux. Everything revolves around the three-pronged concept of space, mankind and perception – which is where the good old light bulb heads the popularity charts among experts as well as consumers. It is estimated that three and a half billion incandescent lamps are now used in Germany alone.

Maybe we need to re-adjust our sensitivities. A candle flame glows at 1500 K. Incidentally, candles also played the leading role in Stanley Kubrick’s historical film Barry Lyndon. The director made his film without any artificial light but, instead, with lavish candlelight settings. This was made possible by an extremely powerful lens, which Zeiss had originally developed for NASA. Kubrick succeeded in producing splendid cinematic art with an ambience as near to an 18th century experience as could be achieved by modern means.

Farewell, Incandescent Light

Hallway, Sento tavolo E / shelf, Sento soffitto singolo E / ceiling

Magazine 53

Bedroom & bath, Puro letto E / bedroom, Puro verticale E / bath

54 Magazine

Farewell, Incandescent Light

Alongside natural halogen light, light designers favor the LED (Light Emitting Diode). This light source now supplies sufficient power and ever improving light quality. Meise says enthusiastically: “We now have interesting options for lamp and lighting design that were hitherto undreamed of.”

Glowing Admirers

Maybe this is the lesson to be learned from the end of the good old light bulb as we know it. No one need lower his expectations of light quality. Technologies always go hand in hand with a specific era, only to be replaced or gradually ousted by the next generation. This fate was shared by gramophones and longplaying records without them losing all their fans. And almost the same has happened to good old Coney Island. Numerous plans have been made to revamp the entertainment site and revitalize it with new, spectacular architecture. The past is never entirely over. The torch of modernity is passed on, from the incandescent light bulb to halogen and LED.

Seldom have people been so unanimous in rejection. Lighting designers fear losing creative freedom, museum experts fear losing modern exhibits, and design historians even see the effect of luminaire classics jeopardized as soon as bulky energy-saving lamps invade the traditional domain of the incandescent light bulb. What’s more, traditional bulbs harmonize neither with the brilliance nor the dimensions of a great majority of energysaving lamps.

Rarely are voices heard that consider the mandated energy-efficiency campaign to be a chance to link design with ecology.

Designer and entrepreneur Axel Meise sees the real challenge in further developing the qualities of the incandescent lamp – or, even better, the qualities of the tungsten filament. According to the Munich designer, the ideal replacement is the latest generation of halogen technology, since it combines energy efficiency and light quality on a high level. Here again, light is generated with a filament, but far more efficiently thanks to the gas surrounding the filament. Axel Meise looks optimistically into the future. No trace of culture pessimism here. “On the contrary”, the designer says, “the new halogen light sources offer the same or even better light quality without the incandescent lamp’s disadvantages. Sadly, this really good alternative is not getting enough attention in the public debate at present.”

And after the change to energy-saving lamps or halogen light sources? People are gradually coming to realize that the present compact fluorescent energy-saving lamp is likely to be no more than an interim solution on the way to the light of the future.

Xenon halogen technology. Like incandescent lamps, halogen light sources also use a glowing filament, which emits a very natural, continual spectrum of light. Dimming varies the light color of halogen lamps from bright white to a reddish glow. For this reason, halogen lamps can now completely replace all types of incandescent light bulbs.

Modern Eco halogen lamps are not affected by the recent EU ban on incandescent bulbs, and most of them will still be available in retail outlets after the year 2016.

Farewell, Incandescent Light

Magazine 55

Occhio stands for intelligent light design, that can be harmonized with a full range of personal and spatial requirements. This is reflected not only in the modularity of its lamp components, which pave the way for individual lighting solutions, but also in the choice of the right light source for each situation. With its Smart Source concept, Occhio offers the optimal light source for every application in terms of lighting comfort, light strength, light color, long product life and, last but not least, efficiency. For us, designing intelligent lighting solutions means maximizing light quality and minimizing energy consumption.

The new Occhio Più spotlight range includes not only HV, NV and CDM light sources but also the latest powerful LEDs. Customers can choose between two different versions (high color / high flux). Thanks to a unique, patented system, these are interchangeable and can therefore always be brought into line with new developments in the future. Più is therefore Smart Source in its purest form.

No artificial light can take the place of daylight. Its spectrum is a continuum of color that reaches from ultra-violet through visible to infrared light.

Intelligent light design with Smart Source Concept

No artificial light can take the place of daylight. Its spectrum is a continuum of color that reaches from ultra-violet through visible to infrared light.

HV high voltage halogen light sources with varying power levels in state-of-the-art energy-saving xenon technology for warm, dimmable light atmosphere are ideal for space and accent lighting in living areas (60–150 watt, approx. 16–18 lumen/watt, 2800 Kelvin, 2,000 hours service life, dimmable, energy class C).

NV low voltage halogen light sources in IRC technology are perfect for specific lighting in the housing and special project sectors thanks to their brilliant but warm light (50/60 watt, approx. 28 lumen/watt, 3000 Kelvin, 4,000 hours service life, dimmable, energy class B).

CDM ceramic discharge metal halide lamps are ideal for special projects thanks to their brilliant, perfectly focused light, high light yield, efficiency and product life (20/35/70 watt, approx. 90 lumen/watt, 3000 Kelvin, 10,000 hours service life, not dimmable, energy class A).

The exchangeable high-performance Occhio Più LEDs offer extraordinarily high light output with a pleasant light color, maximum efficiency and product life. Two light qualities are available (13 watt, 700 mA, 69 lumen/ watt (high flux version), 3000 Kelvin, >20,000 hours service life, dimmable with the appropriate drivers, energy class A).

56 Magazine

Magician James Turrell

Magician of Light The secret of James Turrell.

People leaving the Skyspace after several hours have burning eyes and stiff neck.

Of the great light artists of our age, James Turrell, who was born in Los Angeles in 1943, stands out as a philosopher, one could almost say a ‘magician of light.’ Turrell does not simply light up spaces, he fills them with supernatural brilliance.

Skyspaces is the name he gives to observation rooms that feature gaping round or elliptical holes in the ceiling, making them look like small astronomic observatories. With their eyes turned upward, visitors experience fleeting lighting effects as if through a magnifying glass. Clouds pass above their heads and change the light. It takes only a few moments. Then the room starts to come alive.

Turrell invites people to join him on a sight-journey, he wants to make atmosphere tangible. This is particularly effective at dusk. Where a minute ago the sky was as clear as a mountain lake, it is now tinged with greenish yellow, or dark shades like an approaching storm. Suddenly, the observation hole stays black as night, as if none of these colors had ever existed. Air becomes tangible, liquid, expands. A huge, dark raindrop is suspended from the ceiling. People almost want to put up an umbrella. When they leave the Skyspace after several hours, they have burning eyes. And stiff necks.

If there is one secret that the American with the straggly white beard celebrates, then it is this: Light is one big mystery, which has a magic attraction. With his installations Turrell leads us to the limits of perception and, at the same time, challenges them.

His installations creep up on his audience and take control.

They wade through light, float in illuminated spaces. Nuances are important to Turrell. The precision fanatic compares light moods with the minute hand on a clock: “You never see it moving, but the next moment it has actually moved.”

What constitutes the massive impact of these works (which Turrell himself refers to as land art)? They transform. Just a moment ago you were looking at a completely normal building, and suddenly it dissolves into a light sculpture illuminated by neon tubes, LED panels and carefully controlled light organs.

In the Swiss town of Zug, Turrell immerses the railway station in explosions of Bengali color. Light chords bombard your retina, the building seems to breathe, to expand, to throb.

“I wish that light technology had been this far advanced 30 years ago”, Turrell says. When he talks about light-emitting diodes (LEDs), his eyes light up. Concentrated, clear light, punctiform and precise – he had long searched for something like this, and for years had to make do with neon tubes.

Is Turrell mistrustful of perceived reality? The magician grins: “The world is certainly based on illusions. We give the sky its color. This is the reason why I can change its color with Skyspaces. I don’t change the sky, I change you.” This is true: Turrell changes us. After visiting his museum, we have a different perception of light, even in this year’s European Capital of Culture, the Ruhr. A special Skyspace, a space between heaven and earth, was built here in the “Center of International Light Art” in Unna in 2009. By day, harmless rays of light move across the walls, but at dusk, the sky seems to explode.

LINKS www.kunst.uni-stuttgart.de/seminar/turrell_neels/homeb.html www.kunstmuseum-wolfsburg.de // www.lichtkunst-unna.de www.ruhr-tourismus.de/presse/unna.html // www.biennale-lichtkunst.de

Magician James Turrell

Magazine 57

Bridget’s Bardo, 2008 Walk-in installation, James Turrell Photo: Florian Holzherr, 2009

Light is one big mystery having a magic attraction.

Portrait of James Turrell Photo taken on April 24, 2009 Photo, Florian Holzherr, 2009

Roden Crater, Skyspace East Portal, daytime, James Turrell Photo, Florian Holzherr

58 Magazine

Gaggenau and Quality

Quality as a Brand Experience Sven Schnee on design icons, durability and essential customer service.

Gaggenau and Quality

Magazine 59

The Gaggenau brand Gaggenau is the renowned manufacturer of premium kitchen appliances for the high-end segment.

Gaggenau stands for unique design, innovative technology, durable materials, clear forms, easy handling as well as sustainable craftsmanship, and, with its uncompromising attention to detail, sets recognized standards in dining culture and contemporary lifestyle.

The new Gaggenau showroom on the Swiss shore of Lago Maggiore.

On the shore of Lago Maggiore stands a light bungalow made of steel and glass, with dimensions that are reminiscent of a container. Only the dimensions, though. Otherwise, this could be the dream come true of Egon Eiermann’s ‘kitchen in a garden’ – if such modern kitchens had existed in Eiermann’s day. What we see is the prototype of a transportable showroom which is designed to replace trade show and exhibition booths in the future. For Gaggenau, the leading maker of premium design kitchen appliances, the bungalow is just the right size. The unique structure can be split, pushed into standard containers and shipped at low cost – to any place where Gaggenau wants to present its cutting-edge kitchen technology.

Gaggenau collaborated exclusively with highly innovative small companies to realize the showroom. Occhio was the only choice for the lighting. Although the full-height glass fronts of the mobile showroom mean that no artificial light is needed during the day, the Occhio lighting is an important feature even when switched off and plays a key role in the overall design quality. When the sun goes down, Occhio puts the synthesis of the arts in the best possible light. Ceiling-mounted spotlights with halogen metal halide lamps set the scene for the appliance arrays. Wallwashers illuminate the matt glass background panels evenly and without glare. All of the Occhio head elements are used here and are orchestrated in perfect harmony. No one knows whether Lago Maggiore will ever see the radiant splendor of the mobile showroom again. Immediately after the photo session it was seen heading for its world premiere in Thailand. >

60 Magazine

Gaggenau and Quality

In the evening the Occhio lighting concept sets the scene for the showroom.

Gaggenau and Quality

All three Occhio lines – Puro, Sento and Divo – in perfect harmony.

Magazine 61

62 Magazine

Gaggenau and Quality

Mr. Schnee, quality is a major issue at present. Where does quality for a premium brand start today?

Quality begins with the manufacturing process. Our aim is to achieve optimal product functionality on the materials side. The challenge is how to find suppliers that are flexible enough to produce technologically sophisticated, small batch production parts over the long term.

How many employees do you have in quality assurance?

Take our steam oven, for example. It’s not produced on the assembly line, but in worker groups. The value contributed by each employee is high. Thanks to small batch production, we generate even more value, yet our failure rates are about average.

This is where we have a problem: Our customers are demanding. They expect quality approaching perfection.

So how you deal with defects is a vital aspect?

That’s absolutely right: If service is good, it strengthens customers’ brand loyalty.

What role does design quality play: Can it be measured – or is it just a feeling?

Luxury depends on personal projection, emotions for money.

And since feelings also determine people’s perception of design, this becomes highly individual and personal. So, no, it can’t be measured. Our latest customer satisfaction survey conducted in Switzerland, France and Germany revealed that design is very important for around 50 percent of buyers, and that in this area around 80 percent of customers give us a higher rating than our competitors.

Design can be enduring and classic, but still claim to be innovative …

People don’t expect us to be innovation leaders all the time, but we bring new technologies from professional kitchens into the home, the steam oven for example, which we developed together with three-star chef Marc Haeberlin. This appliance is found in many kitchens that are used by professional chefs all over the globe.

was the key argument for Gaggenau in all three countries. We in customer service must go on asking ourselves whether the Gaggenau brand is still perceived as we want it to be perceived.

Outstanding service that generates maximum customer satisfaction is the number one argument for top brand loyalty.

You still sound critical. Are you always only out to improve?

Again, this is all about the brand experience. It is impossible to offer top service everywhere in a huge country like the USA. That is the luxury trap: Small batch production and a service network that does not provide full coverage soon make customer service unprofitable. Our low failure rates mean that we have to continually further educate our employees, since they hardly face any problems, and this is extremely cost-intensive.

This is a topic you address, nonetheless. So service quality is more important than product quality?

Yes, it certainly is. I would rather have five defects in 100 products with an excellent zero-defect service than a three-defect product with poor service.

Finally: Good quality is ... ? ... individual, emotional satisfaction in use. What is really changing today in the perception of quality is that people want to be served more individually. If I buy a product and have a problem with it, it is important to be given the feeling that the solution is equally important to the manufacturer.

Can you give us an example?

I had a defective lamp, a true story by the way, and took it to the Munich light gallery, where it was repaired. The light bulb was defective, although I had already tried out three different ones myself. But it was true. They cleaned the contacts and only charged me for the new bulb. At home we had actually bought three defective light bulbs. I hadn’t even tried out the fourth, because my statistics told me that three bulbs and no light mean that the lamp itself is defective. But it wasn’t. For me, this way of dealing with the problem represents excellent service.

What does design mean for you?

I think design should forge a link between the past and the future of the brand, in other words: The design we have today should have aesthetic references to the products we produced ten or twenty years ago. Its job is to create lasting icons like the Rover Defender, perfect design without emphasizing the modern or contemporary aspect. Our 90-centimeter oven has been featured in our portfolio for 25 years – with appropriate technical adaptations, of course. Form follows function is not thought through – it is more a symbiosis of form and function. Our design is evolutionary, not revolutionary.

Quality means you work continually to improve the system?

Absolutely.

Is that all you need to guarantee long-term quality?

Perception of quality is not simply about objectively measurable failure rates. Quality goes much deeper, it is a brand experience, it reflects brand awareness itself. The customer survey I mentioned earlier showed that quality – alongside design –

About Sven Schnee, Head of Gaggenau International, Munich.

Born in Andernach in 1965, Schnee joined the BSH Group as export manager for Europe in 1993 after completing his business studies at the University of Passau. Schnee’s posts with the Group have included Head of Marketing in France from 1998 to 2002 and Chief Marketing Officer in Russia from 2006 to 2008.

He has headed Gaggenau International since 2008. In this function, Schnee is responsible for coordinating all of Gaggenau’s activities in development, product marketing, brand communication and export.

Imprint 63

It’s light that counts. Occhio Più LED

Imprint We would like your opinion.

What do you think of the new Occhio magazine?

Do you like the choice of topics? Are the articles interesting? Which is your favorite section?

We look forward to hearing from you: redaktion@occhio-magazin.de

www.occhio-magazine.com

Occhio Magazin Published by: Axelmeiselicht GmbH Wiener Platz 7 Rgb. 81667 Munich, Germany Tel. +49 (0)89 44 77 86 30 Fax +49 (0)89 44 77 86 39 info @occhio.com www.occhio.com

Design, Concept and Content Martin et Karczinski Nymphenburger Straße 125 80636 Munich, Germany Tel. +49 (0)89 74 64 69 0 Fax +49 (0)89 74 64 69 13 info @martinetkarczinski.de www.martinetkarczinski.de

The One True Light Places of worship celebrate a transcendental element: spiritual enlightenment.

The renowned Swiss lighting designer Felix Kessler of “LIGHT ON” explains how the perfect lighting concept was developed for the historic Preacher’s Church in Zurich.

From time immemorial mankind has firmly believed that there is indeed something that can be called divine light. And the task of master builders such as Vasari, Michelangelo or Le Corbusier was to capture this radiance in their works. The heritage of sacred buildings also reflects a history of the “Ecclesia in lumine”, the church in light, in which architects and craftsmen have strived to create a transcendental ambience with light that rises above the material.

What would the monumental cathedrals of the middle ages be without their stained glass windows? Abbot Suger of Saint-Denis is said to have mixed crushed sapphires with molten silicate paste to imbue the window glass with a heavenly brilliance. But the enlightened architects of the modern period were also skilled masters of their trade: The light in Le Corbusier’s chapel Notre Dame du Haut in Ronchamps seems to flow down the walls in streams of milk, and in the dimness of the sanctuary glass mosaics captivate the eye – the ambience is much like that of an enchanting grotto. >

66 Magazine

Divine Light

Light in the church, sacred light, is something very special for many people.

Light is also at the heart of the liturgy. It is a matter of transcendental energy. And all historic churches were built to ensure optimal natural lighting, and they usually occupy spots that put them in the best possible light. During the summer sunlight does not shine directly into the nave as it does in winter. Lighting designers must take this into account and analyze the geography of the site. This is done with special programs.

Occhio is a uniquely flexible system.

How do you approach a project? What challenges were posed by the Preacher’s Church in Zurich?

In this case the location is important, as well as how the church is used: for worship services, meditation or for exhibits. The Preacher’s Church is quite often a location for concerts.

You often work in historical environments.

In my approach I strive to protect the heritage of a building and thus avoid any modifications in the architecture. Lighting technology is developing at a rapid pace, so I don’t want to destroy anything. Perhaps in 30 years we will restore the same building again, but with a completely different technology. Therefore, one should avoid massive changes or additional structural elements. That is the nice thing about Occhio: It is the only product offering such a wide range of components, much like a huge toolbox that gives lighting designers maximum flexibility.

The products are durable thanks to the high quality materials used. In addition, the lamps deliver a very high light yield with low energy consumption. In Switzerland they even fulfill the MINERGIE standard.

light, make it softer or even “black it out” by having the beams radiating downward and not upward, or alternating in both directions. The Occhio line also includes precision optical lenses to eliminate the unpleasant effects of glare.

A wide selection ... ... oh, I’m not done yet. The lamp heads can be configured to create new compositions, both for track lighting or suspended lamps, so that I can design diverse scenarios with various technologies: halogen, high and low voltage, EDL and LED. I can choose whatever I want from one source. In the beginning there was only Puro, with modest elegance, but the big hit came with the flexible Sento heads.

Is anything missing?

If something is missing, I build the component myself. Or I contact the manufacturer directly. Occhio has met all of my demands. Working together always brings the best results.

You follow a flexible approach. How does this lead to optimal lighting design?

First I have to calculate the light volume. Then I look for the right lamp. In most churches I usually need more than one lamp head to get the desired light intensity. Thanks to careful planning with Occhio, superior lighting can be achieved.

You are always creating new lighting effects and moods ...

Exactly. By intelligently orchestrating light you can come up with really beautiful accents and moods. With Occhio I can do almost anything imaginable. But without an understanding of lighting technology, even the best range of products is not much help.

How has your appreciation for light changed?

It has become much deeper. Experience and technical knowhow are very important for me. I always choose the most useful and the most economical products, but I implement them only if they deliver first-class functionality. And that is now the case with LED technology from Occhio. Engineering and style make Occhio the leading brand among professionals.

Exhibit lighting on the one hand, sacred lighting on the other – how are they different?

Sacred light is tranquil and warm. About 30 percent is beamed off the ceiling, while the rest is directed downward to create a mystic mood. The requirements for concerts and exhibits are much different. The musicians need to read their sheet music, so we need more volume here. The ceiling areas are brightly illuminated, as are the architectural features. During a sermon, however, the main focus should be on the face of the pastor.

When an orchestra is playing, the light should illuminate the foreground so that the audience can see the conductor and the faces of the musicians.

Why did you select Occhio?

Occhio is a uniquely flexible system. I can create many different kinds of moods and effects. Thanks to the broad range of filters available, it is also possible to create various degrees of cooler or warmer light. I also use some of my own filters. I can diffuse the

LIGHT ON Beleuchtungstechnik GmbH Lohwisstrasse 32, CH-8123 Ebmatingen Tel. +41 (0)44 88 77 501, Fax +41 (0)44 88 77 505 www.light-on.ch, info@light-on.ch

Divine Light

Magazine 67

The project: Preacher’s Church, Zurich.

Less than ten minutes from the main train station, in the historic Zurich city center, the characteristic steeple of the reformed evangelical Preacher’s Church towers high above Zähringer and Prediger Square.

Originally planned as a Romanic church for a mendicant order, construction began in 1231 and was continued in Gothic style by numerous master builders over time. In 1330 the structure was enlarged and enhanced with a Gothic chancel.

The church was part of a Dominican monastery until the Reformation in 1524. Even today the congregation is committed to maintaining the legacy of the church founders. It considers itself to be an “auberge spirituelle” and acts according to the principles of hospitality and friendship. The Preacher’s Church is known as a place where various confessions can meet in dialogue, and due to its outstanding acoustics the church is also a popular venue for concerts. www.predigerkirche.ch

The lighting designer: Felix Kessler of “LIGHT ON”.

Kessler views himself as a “general contractor when it comes to lighting.” The precision engineer studied lighting design in London and Hamburg. In 1992 Kessler founded his first business, which grew to become “LIGHT ON Beleuchtungstechnik GmbH” three years later. The company develops sophisticated lighting concepts using 3D animations and CAD lighting plans, in addition to product-neutral bid proposals, customized fabrication and delivery as well as installation instructions and acceptance protocols. For Kessler light is “a dynamic design element that transcends all limits”.

The lighting concept for the Preacher’s Church features special Occhio lamps with Sento E reflector heads and CDM. technology.

68 Magazine

Occhio store CGN

light is evolution – Occhio’s claim expresses the flexibility and diversity of its modular lighting systems.

The new Occhio store in Cologne-Rheinauhafen therefore reflects our evolutionary ongoing development. The key visual of the 300 square meter store is a spectacular, over-dimensional DNA double helix, which also visualizes the fusion of professional and private lighting solutions.

Occhio’s unique concept is presented to visitors in this exclusive environment. Here, private customers, architects and lighting designers learn about sophisticated lighting solutions and are thrilled by the flexible design options offered by Occhio system lighting.

The broad range of options that Occhio offers is apparent as soon as we look at the store concept. Different private and professional applications are transformed into real experiences. Impressive light effects and colored light are displayed, as is the whole range of available light sources. In the Occhio store prospective private customers and professional users will find a complete lighting portfolio of head and body elements: Occhio Sento, Occhio Puro, Occhio Divo and the new Occhio Più spotlight line.

A professional team of consultants is available at all times to design individual lighting solutions to suit a wide range of different requirements.

Occhio store CGN

Occhio Store CGN Cologne with yet another design attraction.

Flagship store in Cologne Anna-Schneider-Steig 8–10 50678 Köln-Rheinauhafen, Germany www.occhiostore.de /cgn Tel. +49-89-44 77 86 30 Fax. +49-89-44 77 86 39 Business hours: Tues.–Fri. 10:00 a.m.–7:00 p.m., Sat. 10:00 a.m.–4:00 p.m.

Flagship store in Cologne

Magazine 69

70 Magazine

Shortcuts

Shortcuts News from Occhio.

Light+Building Occhio on light + building 2010

Zwei Design-Awards für Occhio Più

Spectacular trade show presence “One source – one system – quality of light in all areas of life” was the motto of the Axelmeiselicht exhibit at the light + building 2010. In an open, white rectangular prism of light covering an area of 200 square meters, Axelmeiselicht presented the full range of its new lighting system Occhio Più. The visitors were equally surprised and fascinated by the perfect harmony of technology and natural elements. The public was particularly drawn by the waterfall at the center of the exhibition stand which put this year’s motto spectacularly in the limelight. Equally fascinating was the the lush green plant wall which mirrored the evolutionary thinking of the modular lighting system. 04 | 10 INTERIEUR 2010, Kortrijk, Belgium For the third time in succession Axelmeiselicht showcased its latest lighting solutions at the international biennial for creative interior decoration. Large numbers of design professionals were impressed by the products displayed at a new booth created to embody the new Occhio branded environments.

The star of the show was the multifunctional Occhio Più spotlight series featuring the very latest high-performance LED technology. 10 | 10

Distinguished honor: red dot “best of the best” award in the product design category for Occhio Più.

The newest product in the Occhio family, the spotlight series Occhio Più, has received the internationally renowned red dot design award.

Occhio Più impressed the jury with its unique modular concept, superior design quality and its virtually unlimited application possibilities.

In terms of innovation Occhio Più was also convincing – thanks to the latest LED technology used in this product line. It meets the highest demands regarding outstanding light quality, for which Occhio is known.

Degree of innovation, functionality, self-explanatory quality and ecological compatibility are among the criteria examined by the 30 leading experts in the jury. Eminent

authorities like Professor Florian Hufnagl, Managing Director of the New Collection at the Munich “Pinakothek der Moderne,” Professor Werner Aisslinger of Berlin and other design experts from around the world examined and judged some 4,252 products submitted from 75 nations. “All of the awardwinning products are distinguished by their superb design and innovative approaches which set them apart from the mass market – and this is key to demonstrating their sustainable quality”, said Professor Dr. Peter Zec, initiator of the red dot design awards. 07 | 10 The Occhio Store in Denmark Axelmeiselicht is enhancing another Occhio store at its Occhio Scandinavia Partner Lampefeber in Aarhus, Denmark. With its new brand experience concept the ­Munich lighting experts are intro-

Più Die neue Occhio Strah Mit der ersten LED-Ge die unserem Anspruch

Occhio macht den Menschen zum Lichtgestalter s Più vereint die einzigartige Modularität und das sc in einer multifunktionalen Strahlerserie.

Mit dem Smart Source Konzept bietet Più die rich privaten und öffentlichen Räumen. Die innovativen neueste Halogen- und Metalldampf-Technologien Energieeffizienz und höchster Lichtqualität. Denn Erleben Sie Più auf unserer Website www.occhio-

light is evolution aml_100916_anzeigenkampagne_Piu_AD_RZ.indd 2-3

A whole new lighting experience at the Interieur 2010 in Kortrijk

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ducing a new dimension in product presentation for its retail partners in Scandinavia. The new Occhio Più spotlight series will be introduced to end customers and lighting professionals in a special exhibit area.

09 | 1 0

Occhio and augmented reality The Axelmeiselicht marketing team has come up with a novel way of using augmented reality: As part of an international advertising campaign in selected newspapers and architectural publications, augmented content material will be available interactively. To access this material readers must first download the free “Junaio” app from the App Store. When the user then holds his smart phone over the photo of the studio house, or over the Occhio Più product image, a one-of-kind multimedia experience is launched on the mobile device.

04 | 10

Occhio

seines eigenen Lebensraums. Die neue chlicht begeisternde Design von Occhio

MARTIN ET KARCZINSKI

AR – Augmented Reality Laden Sie sich kostenlos ›Junaio‹ aus dem App Store auf Ihr Smart Phone.

Wählen Sie den Occhio Più Channel, halten Sie Ihr Smart Phone auf die Produktabbildung oder das Atelierhaus und erleben Sie Occhio Più.

16.09.10 20:44

Ad campaign with augmented reality content

During the course of the year the new Occhio brand experience will be set up at the following premium partners: Germany Lichthaus Ammon, Potsdam Piwarz Licht, Berlin Steidten Architektur + Design, Woltersdorf Lichtia, Hamburg Prediger, Hamburg Licht Norkeweit, Molfsee Detlef Coldewey, Westerstede* Klebe Lichtideen, Bünde Lichtkonzepte Lohmann, Dortmund Lichtland, Essen* Rausch, Hilden* Molitors Einrichtungshaus, Ratingen* Remagen, Köln Magazin, Köln* Hololight, Bergisch Gladbach Bolz Licht + Design, Saarbrücken Hecht Einrichtungen, Kirchentellinsfurt Wohndesign Officedesign, Reutlingen Licht + Wohnen, Karlsruhe Candela, Baden-Baden Milano Möbel + Leuchten, Stuttgart Raumlicht Dahler + Ehrle, Stuttgart Twerdy Leuchten, Fellbach Herkommer & Gutbrod, Ingolstadt Foreign countries Wienlicht, Wien A.C.E., Antwerpen Verlichting Cathenis, Brügge Electro Rem, Herentals Lichthuis-Mol, Mol Illudesign, Angleur King’s Shops, Brüssel Wagner Design, Luxemburg Nova Impex, Zug Paardekooper-Hulst, Naarden-Vesting

10 | 1 0

hlerserie. eneration, h genügt.

htige Lichtquelle für jede Anforderung in , wechselbaren Hochleistungs-LED und n sorgen für die perfekte Balance von n Lichtqualität bedeutet Lebensqualität.

-piu.com

Dream lighting in real time At Occhio Premium Partners customers can now also experience Occhio lighting scenarios digitally. This is possible using a touch screen and intelligent software. The new “picture tool” provides inspiring views of various applications in public and private buildings arranged according to specific themes.

The Occhio configurator supports the visualization of all imaginable combinations of head and body elements, giving customers the pleasure of individualizing their own lighting ideas using a wide range of variations.

Magazine 71

Occhio Picture Tool

The new Occhio brand experience An extraordinary brand experience was developed by Axelmeiselicht for three-dimensional settings at its retail partners. The concept behind this attractive exhibit concept is so advanced and inspiring that it has even raised eyebrows outside the lighting community. With the new point-of-sale solutions, end customers and builders, as well as interior and lighting designers, can actually experience sophisticated lighting solutions and learn about the wide range of convincing options offered by the Occhio system.

10 | 10

* Will be realised later this year

The new Point of Sales concept of Occhio

We would like your opinion.

What do you think of the new Occhio magazine? Do you like the choice of topics? Are the articles interesting? Which is your favorite section? We look forward to hearing from you: redaktion@occhio-magazin.de

Occhio System Overview.

Our mission: People become the lighting designers of their own living environment. Our tool: a modular system consisting of head and body. Thanks to its wide range of options the Occhio concept enables comprehensive design in terms of material aesthetics, form language and light quality. From the accentuation of individual objects to the atmosphere in the rooms of a whole building: The Occhio system with its three product lines, Puro, Sento and Divo, is conceived as a multifunctional lighting tool. It combines light, interior design and architecture at the highest level.

Puro

Sento

Divo

body

head

Table lamps

Wall lamps

Floor lamps

Ceiling lamps

Puro

Sento

Divo

sogno 45 cm

tavolo 60 / 80 cm

lettura 125 / 160 cm

stilo 135 / 160 / 185 cm

terra 180 cm

verticale 20 / 30 cm

letto 20 / 30 / 40 / 60 cm

parete singolo 20 / 30 / 40 / 60 cm

parete doppio 20 / 30 / 40 / 60 cm

verticale 20 / 30 / 40 / 60 cm

faro singolo, faro singolo track (ohne Abb.) 10 / 20 / 30 / 60 cm

Suspended lamps

soffitto singolo 30 / 40 / 60 / 80 /100 /125 cm

soffitto doppio 30 / 40 / 60 / 80 /100 /125 cm

soffitto due 30 / 40 / 60 cm

soffitto due 80 / 100 / 125 cm

filo singolo max. 350 cm

filo doppio max. 350 cm

sospeso max. 350 cm

sistema quattro / sei 125 cm / 200 cm

sistema tre / cinque sistema soffitto tre / cinque (not pictured)

Più The new Occhio spotlight series.

With the first LED generation that meets our expectations.

Discover a new dimension of lighting design. The new Più unites the unique modularity and the simple inspirational design of Occhio in a multifunctional spotlight series.

AR – Augmented Reality With its Smart Source concept Più offers the right light source for every requirement in private and public spaces. The innovative, interchangeable high performance LED and latest halogen and metal halide technologies ensure the perfect balance between energy efficiency and maximum light quality. For quality of light means quality of life. Experience Più on our website. www.occhio.com

light is evolution

Download › Junaio‹ from the App Store free of charge onto your smartphone.

Select the Occhio Più channel, hold your smartphone over the product illustration or the studio image and experience Occhio Più.